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Te Price Paid, “tae ¥ Ve Patre,” 
by F i ¢. Coolidge, dre 
Ryn OC -Bostorie Fn 4 


Pd . . 
$ JAA 


23 PICTURES BRING $81,975 


Daubigny’s “ Morning on the Marne ti 
Fetches $14,000—A Roussecu Brings 
‘$11,700, and a Millet $11,300. 


| 


The beautiful little lot of pictures. of 
' the:James A. Garland collection—twenty- 
three of them—sold last evening at Men- | 
‘delssohn Hall, under the auspices of the 
American Art Galleries, for $81, 975. The! 
bidders were not numerous, but the sale! 
_ was brisk. 
. .The Corot brought the highest Sue 
$15,900, paid by T. J. Coolidge, Jr., of. 
Boston. .The picture was started at. 
$5,000, jumped by thousand bids to $10,- 
0CO, then ran quickly up. by smaller) 
bids to the selling price, ‘‘Le Patre’’. 
was the Corot’s title. It is a large pic- 
ture, 454% by 35,4 inches; two large trees 
“standing out prominently on the lower 
' Slope of a rough hillside, with the figures 
of @& man and woman beneath, the fig-. 
ures of a mah and a sheep silouetted | 
against the sky at the top of a knoll, | 
aad, at the left, rambling buildings, . 
Emerson MeMillin gave $14,000 SS 


Daubigny’s ‘“Morning on the Marne.,”’ 
Bidding for this picture started at $2,500, 
jumped to $3,000, then $5,000, and then by 
hundreds to the selling price. 

A small Millet, ‘‘The Shepherdess,’’ 
went to Scott & Fowles for $11,300. The 
last single figure picture of Millet sold 
by the American Art Galleries went for) 
$23,025, Mr. Kirby explained. “La 
Ferme,’ a, Rousseau from the Mary J. 
Morgan collection, brought $11,700. The) 
““Market Morning, Constantinople,’’ Al-, 
berto Pasini, went to C. Vanderbilt Bar- | 
ton for $1,050. ° The Dupré, which went | 
for $9,000, was bought by Mr. Garland 
from a Philadelphia collection in 1899 for 
$8,000, 

Following is the list of pictures, with 
hames of artists, purchasers, and prices: 


A Savant—Francols Domingo; Dr. P. 
Ry ROMOCESUISOME Ak SKE a cea bce say's Fe Meeks Dateless $225 
A. Shepherdess—Miltet; Scott & Fowles. 11,300 
La Ferme—Theodoré Rousseau; Knoed- 


| 


WEP te ea aE SLA elas SO RON deere donne Se ool bs 11,700 
\Gossiping—Daniel Ridgway Knight; <A. 

REPT TNE Oe AMES yd gre os a Aik ee 350 
The Arrival—Jean Ricard Goubie; Otto 

PROPTIGE ECW ta go aa Nass & Sicigieath oie 450 
Italian "Peasant Girl—Ludwig Passini; 

Dice 1d PEVOMCOE oT ine bc cu la ee eae be 600 
Steady, Johnny, Steady—Erskine Nicol; 

vache teg Me (O08 aS k ko kaaleocns knot pbwed 950 
Head of a Girl-~Gabriel Max; Dr. P. 

WF ath POCMEEI ORS 5 cient aha tera Sas hin soit ook ete 800 
Venitce—Martin Rico; W. B. Gow....... 1,600 


Market Morning, Constantinople—Alberto 
__Pasini; C. Vanderbflt Barton......... 1,050 


George T. Bonner 7H i 
eae ee ee 
aor 


See ee Pract. Soa 
eT 


? tr teersesere Fea Sao 


Sitotaley «valoda veneer . 


THE GARLAND Prone. si 


pce 
ge 
tee Be 


Abn 
of the late James. 4 
in Mendelssohn Hall | 
$81, 975. Seana : 


a 
a 
EEE 
> 
aig 
ss 


ranean spe for the a 
the collection, although + 
better of the two Duprés 
pects to wake up some day to 
eee a embiiee "h 


sh: Gal eee 


“38, 000, tod even at. that fi ie — : 
an advance of more than ia 


e excellent and 
“Morning on the Marne” sk 

a $2,500 bid, and jumping t 
$5, 900 immediately, aele at 


was elicited by the « 
two small canvases 
‘about eight by ten * ches, oy 
“Rousseau respectiv Shep 
‘and “La Ferme,” ek two. s 
‘dealers were after and: went after 
Pe and when the dealers bid #) 
tells its own story. “A Shep 1@) ee. 
‘to one of ‘the firms for $11,3¢ 
aise Bd os aioe on can ee sat 
| © high figure of the e Was pi 
y T. Jefferson Coolidge, Jr., of 
twhio gave $15,900 for Corot’s 
as the catalouge has it, a lan 
sition of early evening in ge 


=< 


‘figures are incidental. 
eee res buys for the Beaton Museum 
there was the customary specula 
| to whether the painting is isto find i ne 
there. 
The canvases bringing more than 
with artists’ names, those of 
as announced and the prices the Chae 
“A Shepherdess,” Millet; Scott & Ne i su 
“La Ferme.” oe Knoedler & Co.. 
“Venice,” Rico;gW. 5 GIR Bas pA Vines 8 " f 
“Market Morning, ” re "Passini; i. Vander. pa 
BUt Barton. 45 ole Soy See ee, 1,050 


a nn a 


“Morning on the Marne,” Daubigny; E. 
Casein |.) Foe a cabs so avs 
Chuturon Morning.” he oo LN. L. Amster... a 
Mba the Schelde” Gane ange T. Bom ot ae 
¢ Scheldt,” ays: eo ner. ; 
MEA Batre,” Corot in Coallde 4 es) 


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AMERICAN ART GALLERIES 
NEW YORK 


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MADISON SQUARE SOUTH 


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ji: tures cunecied ieee ‘late 
James me Garland—twenty-three—were 
sold March 19 at Mendelssohn Hall for 
$81,975. The bidders were not numer- 


ous, and the hall has rarely ever been 
more sparsely filled at an important auc- 


tion, but the sale was brisk, chiefly due 
to the competition between prominent 
dealers with each other and with a few 
collectors for the more important can- 
| Vases. 


The Corot, Pie. Patre, ” brought the 
Lnistiest: price, $15,900, paid beets. 
Coolidge, Jr., of Boston. The picture 
was started at $5,000, jumped by thou- | 
~ sand bids to $10,000, then ran quickly | 
| up by: sale bi bids to the selling price. | 
Mr. Emerson McMillin gave $14,000 
“Morning on _ the 
Marne,” a rarely fine example. Bidding 
for this picture started at $2,500, 
jumped to $3,000, then $5,000, and then 
by hundreds to the selling price. 

Following is the list of pictures, with 


names of artists, purchasers and prices: 
| ‘Ideal. Head,” Ludwig Knaus; N. L. Amster $250 
ion bee Violinist,” B. Tirado; Ne LL. Amster. 300 
i“A Savant,” F, Domingo; Dr. P. i}. Oettinger 225 
bad 6 Shepherdess,” Millet; Scott & Fowles.. 11,300 
|“La Ferme,” Rousseau ; ‘Knoedler & Co....: 11,700 
“Gossiping,” D. Ridgway Knight; A. W. Smith 350 
“The Arrival,’ J. R. Goubie; atte Bernet, 


0 EE ee et re 450 
fe: Soe Peasant Girl,” L. Pasini; N. L. Am- | 
ee veka hie KES ee Kon ee 600 
“Steady, Johnny, Steady,” Erskine Nicol; 
| PeeRseClley Oe ee we ec eee oe ees 950 
‘Head of a Gisl,” Gabriel Max; Dr. P. J. 
Oettinger 2 a ee ar ee een 300 
‘Venice,’ Martin Rico; W. B. Gow =) See ome 1,600 
‘Market Morning, Constantinople,” A. Pasini; 
Vanderbilt PAs Gs safes 6) 2 ea 1,050 | 
“The Telegram,” Madrazo; Col. H. D. Seixas. 625} 
“The Butterflies,” F. Kraus; N. oF Amster... 550 
‘Sketching in the Mountains,” F. H. Kaem- 
|. merer ; Seer aCe. 14 fsb ow 4's anys on ene 375 
(“A ° Morning Walk,” F. Heilbuth; C. M. 
OE en ee 250 
“Morning on the Marne,” Daubigny; Emer- 
. Pree Ns Oe nc ne ass co se Tee eens 14,000 
iL Ile des Amours,”’ Diaz; Knoedler & Co. 5,200 
“Autumn Morning,’ Jules) Dupré; N. Ti 
Ee Lie cig ses 6 ces nahn ae 8 sp sie eee 4,200 
‘Landscape—Cattle and Pool,” Jules Dupré; 
co EE > 7S Se ee ae 9,000 
‘On the River Scheidt,” P. J. Clays; George 
SSS OO aero. core 1,850 
‘Le Patre,” Corot; T. J. Coolidge, Jr.; Bos 
0 OS eres eee ee eo 15,900 
‘Harbor on the Coast of Cornwall,’ William 
T. Richards; G. B. Hopkins............-. 950 


ee. Vig ss neues © oe Sey e eed $81,975 


j eran Soir sur le lac, de Coro 
_ lidge, de Boston, a payé 90,500 francs. Ls 
oo a poussé jusqu’a 85,000 francs une 
. sgt représentant un Christ mort sur les | 
ra be dont les ee étaient a 

i donate eset ae 

__ Un Daubigny, .M inée ‘sur la 
70,000 franes par M. Emerson Mac Mi 
Rousseau, la Ferme, 58,500 franes par 
fin-une toile de “Joan-Franeois Millet, la 
francs par MM. Scott et Fowles. 
- Ces prix sont d’autant plus vaarisek a que ; 
merce des tableaux et-des objets d'art a été for 
atteint a7 les événements de Yan Seathefe en ri 


\ 


| ae ie euvres. @art ‘dolvant. Steins enter. ‘ 
franchise aux Etats-Unis, on verra d'ici peu les trar 
_ actions de VYAmérique et de la France s belt's p 

aaa, a des sommes énormes. ae 


a) 4 

ng chile figure. aoe 
highest price (Wee ts paid 
{cMillen, ; yrs bo mght | : 

: ‘on the: Ma " for 
our first bids, on that cplcture et 
ch, running it up to. $10,000 in| | 
«tO. eey the: susvessive 


cane tt 


vbut it. ‘is ee he remain 
( ugene ere & Go. | 
he ‘Dupre ‘Landscape, Cat- | 


abt x3 ni. 
_ Sco "ke les gave ‘$11,300 f 

let “Shepherdess,” af pane] | 

inches. N. lL. Amster pala 


Pp ae a, 0 
2 re ae e ad $4,200 fon, 
) “Autumn: Morning,” ° 
tigers mye was Dr. 
= for Ga 
Gin or a’ $225 f 


f “A Savant ‘iheilothe:. buyers. were, 


th. te paid $850 for R cee 


RN TA 


for Ri 

bite eae “the Paeatnl PS Sea Morning,” 

| for $1,050; Colonel H,! pe pe ns. ¥E 
525 tor. “Madrazo’ s Aaeue i 


‘ Bon 

chelat”” for He, BY 
ici 0 paid $950 f T. Rie is? 
‘SHanbor on the Cdlist of Cornwall Manas 


CSS STE Se * 


Mle des 
0. It wa 


Amou 

s certain! 

600, bo 

assini’s ‘Market 

went to C. 

and Mad-. 
$625 to. 


4 — y 2 
_) pate 
a a er 
An ay a a 


© Siew << 


. 
\ 
; 
; 
} 
| 
7 


LE “PATRE, CSCOROT. 


ON FREE PUBLIC VIEW 


BEGINNING SATURDAY, MARCH 13, 1909 


CONTINUING UNTIL THE DATE OF SALE 


THE 


JAMES A. GARLAND 
COLLECTION 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
AT MENDELSSOHN HALL 
ON FRIDAY EVENING, MARCH 19TH 


At 8.30.O’Clock and Continuing 


AT THE AMERICAN ART GALLERIES 
ON SATURDAY AFTERNOON, MARCH 20TH 


AT 3 O’CLOCK 


ILLUSTRATED CATALOGUE 


OF OTHE 


RY AeA BILE 


ART PROPERTY 


Belonging to the estate of the well-known connoisseur, the late 


JAMES A. GARLAND, ESQ. 


A former trustee of the Metropolitan Museum of Art 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
Deere OF CHARLES T. GARLAND, ROBERT B. DODSON 
AND ROBERT EMMET, TRUSTEES 


ON THE DATES HEREIN MENTIONED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
OF THE AMERICAN ART ASSOCIATION, MANAGERS 


NEW YORK, 1909 


a eee ep | 
Ee mae 
one 


COPYRIGHT, 1907, BY THE AMERICAN ART 


. NEW YORK: 1) jugs 
ALL RIGHTS RESERVED 


COMPILED BY THOMAS E. KIR 


7 
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CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be immedi- 
ately put up again and re-sold. 

2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and, therefore, in his judg- 
ment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses and, if so’ 
requested, to pay down a cash deposit, or the whole of the purchase 
price, at the time of sale; the remainder of the purchase price to be 
paid or otherwise settled for to the satisfaction of the Managers, on or 
before delivery. Upon failure to comply with the above conditions 
the article purchased shall, at the election of the Auctioneer, be re- 
sold either immediately or within a reasonable time, and either at 
public or private sale and without notice other than that here given. 

If so re-sold, the first Purchaser’s account shall be credited with 
his deposit (if any) and the amount obtained on the second sale less 
all charges attending the same, and the deficiency (if any) shall be a 
charge against the defaulting Purchaser at the sale. 

If the Auctioneer shall not elect to re-sell an article sold, but not 
delivered for the-reason above given, then the Vendor thereof may at 
his election either enforce the Sale to the Purchaser or cancel the 
same. 

4. To prevent inaccuracy in delivery, and inconvenience in the 
settlement for purchases, no Lot is to be removed during the Sale; 
all Lots, however, must be removed within twenty-four hours from 
the conclusion of the Sale. 

5. After a Lot is sold, the Purchaser assumes all risk of any 
damage, theft or loss, except that which can be charged to the 
negligence and carelessness of the undersigned. 

6. All Lots are to be taken away at the Purchaser’s expense and 
risk. The undersigned will afford to Purchasers every facility for 
employing careful carriers and packers. They are, however, in no 
manner connected with the business of the cartage or packing and 
shipping of purchases, and will not hold themselves responsible for 
the acts and charges of the parties engaged for such services. 

7. Neither the Vendor nor the undersigned will hold themselves 
responsible for the correctness of the description, genuineness, or 
authenticity of, or any fault or defect in, any Lot, nor will they make 
any watranty whatever. They will, however, upon receiving previous 
to date of Sale trustworthy expert opinion in writing that any Paint- 
ing or Work of Art is not what it is represented to be, use every 
effort on their part to furnish proof to the contrary; failing in 
which, the object or objects in question will be sold subject to the 
declaration of the aforesaid expert, he being liable to the Owner or 
Owners thereof for damage or injury occasioned thereby. 


THe AMERICAN ART AssociaTion, Managers 


Tuomas E. Kirpy, Auctioneer 


CL 


ENDELSSOHN 


(Fortieth Street, east of Broadway ) 


BEGINNING PROMPTLY AT 8.30 O 


FRIDAY, MARCH 


AT M 


ont 


CATALOGUE 


IN Ont 
LUDWIG KNAUS — 
GERMAN 9 0 
TEX, terete 1829— 


IDEAL HEAD 


The head and shoulders of a tender little maiden some 
eight or nine summers old. The face is turned slightly to the 
left, the full, dark-brown eyes gazing directly at the spectator. 
A plain dress of green, beneath which shows the white of her 
chemise, discloses the round curves of throat and neck, sup- 
porting an oval face in which the red of the well-formed lips 
is repeated in the bloom of the cheeks. The firmly moulded 
contour of her chin, the shapely nose and the depth of her 
fair young forehead give promise of great individuality of 
‘character, and the beautiful coloring of the flesh, framed by a 
wealth of red-brown hair, forms a delightful combination of 


tones. 


Signed on the left, Lu. KNAvs 


Height, 5 inches; width, 4% inches 


Ja. Ki e@o. 
tha.ck / POPC SCO 


No. 2 


F. TIRADO 


ITALIAN 


CONTEMPORARY 


THE VIOLINIST 


Seated on a chair beside a handsome old chest of 
drawers, on which lies a quantity of music, is a man playing 
a violin. His dress is that of a dandy of the beginning of the 
last century—yellow-silk knee breeches, pink stockings and a 
flowered waistcoat with deep flaps. He has discarded his 
coat to give greater freedom to the movements of his arms, 
and the deep lace cuffs of his cambric shirt fall back to dis- 
close a well-shaped and muscular arm. His black hair is 
dressed en peruke, and his head is inclined to one side as he 
gazes intently at his notes; his features while not delicate are 
well formed, and his whole bearing is that of an aristocratic 
dilettante. 


Signed on the upper right, F. Tirapo 


Height, 12% inches ; width, 8% inches 


“ff wf Wy CoLLECTION OF M. KNOEDLER & Co. wo [Pe Jo °o 


NO. 


” 


THE 


VIOLINIST, 


TIRADO. 


No. 3 x o 


FRANCOIS DOMINGO Lb 
(DON FRANCISCO DOMINGO Y MARQUES) 


- SPANISH 
3 1843— 
| | A SAVANT 


In a high-backed leather chair in front of an open win- 
dow, a gray-haired man sits poring over a book. He wears 
a gown of blue silk over a yellow jacket. His hands are 
thin and sinewy, his hair is tousled and unkempt, and he 
evidently pays little attention to his personal appearance. 
The sunlight streams through the window and across the 
floor, on which a large dog is sleeping, showing up the 
rafters of the ceiling, a deep closet full of books, an open 
book-upon another chair, and a globe standing against the 


wall. 


Stgned on the lower right, ¥. DomMINnco 


Height, 6 inches ; width, 44% inches 


SSC). In. KucxredtG. Ca sge0e - Sa / PF 


a. e No. 4 


JEAN FRANCOIS MILLET 


1814-1875 
A SHEPHERDESS 


Seated upon a grassy bank, her back supported against 
the trunk of a tree, is a French peasant woman. She is clad 
in a shapeless dress of coarse blue cloth, and a kerchief of the 
same color is bound around her head. Her large and muscular 
hands clasp a thick staff, and her expressionless face is turned 
slightly to the left. The skirt which drapes her lower limbs 
is all that betrays her sex, to such an extent have the environ- 
ment of her daily life and the sordid tasks which are part of 
her existence destroyed all traces of femininity, whether of 
form, feature or expression. The sheep nibble at the tender 
shoots of the young trees, and between the branches is a 


climpse of a plowed field and a creen hillside beyond. 


Stgned on the lower right, J. F. MILiet 


S99 E ON. Kise la. SG NO UI nhs 


COLLECTION OF AARON HeEaty. New York, 1891 


Ruy fot] oe 


sg Gg * Ba A) so Sept /P? 


4190Heak “250 Sree fp-2. e 


MILLET. 


5 


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A 


THEODORE ROUSSEAU 


— Noe ae | 
+ 
ND THEODORE ROUSSEAU 
\ve FRENCH \ 1 


1812-1867 
A gered ber P00 
i LA FERME 


The picture shows a swampy piece of ground through 
the midst of which meanders a small stream, forming pools 
of water in those places where the configuration of the soil 
allows it. From the rich black soil the grass springs rank 
and luxuriant, and on the right grows a bed of osiers, domi- 
nated by some lofty elms. Upon the left the roof of a small 
farmhouse shows among the surrounding trees, and upon the 
river bank is a woman ina red dress, making a vivid note of 
color in the midst of the landscape. Between the clumps of 

’ trees the view extends to the far horizon, where the landscape 
melts imperceptibly into the blue of the sky. High up in 
the heavens float masses of pearly cloud, their upper edges 
catching the glow of the sunlight, while the coloring of sky 


and cloud is repeated in the still bosom of the waters below. 
Stgned on the lower left, TH. RoussEau 
Hletght, 8% inches, length, 11% inches 


Mrs. Mary J. Morcan Cottection. New York, 1886 .§ ( Core 


“41> 
MK Fea PES gh Pot 3.2 50% 


/S¢¢ th. fg. wh. (ore 


No. 6 GS" 


DANIEL RIDGWAY KNIGHT 


AMERICAN 
ee 1850— 
.S 
Ss GOSSIPING 


WATER COLOR 


In the midst of a tangled field, overgrown with wild 
carrot and thistles, a young peasant woman sits on an empty 
barrow. Her dress is of the roughest—a coarse blue skirt, 
patched and darned, and a brown bodice; a yellow handker- 
chief is bound round her head, and her feet are thrust into 
clumsy leather shoes. Clasping one knee in her hands she 
leans back against the end of the barrow, evidently chatting 


to some companion out of the picture. 


Signed on the lower left, D. Ripcway Knicur, Parzs, 1883 


AF ; K Fletght, 14 inches ; width, 10 tnches 
31 ¢F. | 
eth. so Fe py 


No. 7 


JEAN RICHARD GOUBIE 


. FRENCH 
5 D “1842 th Ahtevhe 
| THE ARRIVAL 


Two horsemen have just ridden up to a gate in a garden + 
wall, and while one dismounts to open it, his companion half 
turns in the saddle to ease his own limbs and to afford his 
steed the benefit of a change in his position. He rides a big 
chestnut, while the other horse, a roan, with four white stock- 
ings, turns his shapely head and dark, intelligent eyes toward 
him, ‘The entrance is not often used, for both wall and gate 
are thickly overgrown with creeping plants of varying shades 
of green, against which a number of scarlet blossoms give a 
vivid touch of color. Behind the wall, tall trees grow thickly 
against the sky, their dense foliage touched by the bright sun- 
light, the blue of the heavens appearing between the delicate 


tracery of their lighter branches. 


Stgned on the lower right, R. Gousix, 1876 


Fletght, 14 inches ; width, 10% inches 


Moe hye eTtth. ARRIVAL AB Y Je. Roa GOUBIE. 


aie. =. 


| 1832-1903 
Ax brite 


No. 8 


LUDWIG PASSINI 


FRENCH 


ITALIAN PEASANT GIRL 


WATER COLOR 


In the shadow of a doorway stands a little Italian girl of 
the lower classes. She is very poorly dressed in an old mauve 
skirt and red bodice, a colored handkerchief is knotted round 
her throat, and a woolen shawl is thrown round her shoulders 
and falls to her knees. On a wooden tray she carries a bundle 
of clothes to be washed, and her head, surmounted by a mop 
of tousled hair, is turned slightly to one side as she steps out 


into the open air. 
Stgned on the upper right, Lupwic Passtni, 18838 


Fleteht, 18 enches , width, 11 inches 


No. 9 


= ERSKINE NICOL, R.S§.A. 
: SCOTCH S 
10 1825— \ Ye 
“STEADY, JOHNNY, STEADY!” 


Beside a swift-running burn in Scotland stands a roughly 
clad fisherman, in homespun coat and trousers, blue waistcoat 
and thick-soled shoes. He has hooked a large fish, and has 
skillfully maneuvered it into shallow water. A small boy 
stands eagerly by with the landing net, and is only restrained 
from dashing into the water by the elder man’s warning to be 
steady. The dour. expression on the man’s wrinkled face, 
fringed with red whiskers, as he stands tight-lipped awaiting 
his time, is in strong contrast with the face of the fair-haired, 
round-cheeked boy beside him. On the rough bank behind 
them a boat is drawn up, and the more distant objects are 


blotted out in a swirl of mist. 


Szgned on the lower right, Nicor, R.S.A., 1864 


Hetght, 18 inches ; width, 18% inches 


Sc &G COLLECTION OF M, KNOEDLER & Co. sang), /€E JECe 


NO. 9. ‘‘ STEADY, JOHNNY, STEADY!” BY ERSKINE NICOL. 


a te 


ate a ere ee ae tad 


ou: 


No. 10 300 


GABRIEL MAX 


AUSTRIAN 


ae 


HEAD OF A GIRL 


The head and shoulders of a young woman, pale and 
spirituelle, sitting in three-quarter view to the right. She 
wears a plain black dress with deep collar, set off at the throat 
by the white of an undergarment and a single rose in her 
bosom. The somberness of her garb accentuates the pal- 
lor of her face with its large, dark eyes and well-formed lips. 
Her fair hair is unconfined and falls tumultuously about her 
shoulders, and a turquoise earring gives a central note of 
color. 


Signed on the lower left, G. Max 
Hletght, 19 inches ; width, 15% inches 


COLLECTION OF M. KNOEDLER & Co. 


Q Noeda 


0 
\\0 : | MARTIN RICO 


SPANISH 


1850— . Y, Cro/ 


VENICE 


The picture shows a long vista down a small canal in 
Venice, spanned in the distance by the arch of a bridge, and 
opening out beyond into a wide expanse of water. On the 
right are the white walls of a large house, pierced by many 
small windows, which are barred with elaborate iron grills. 
On the roof is a small arbor in which grow the dainty 
blossoms of the almond tree upon a trelliswork of. green. 
On the flight of stone steps which leads to the water sits a 
man chatting with some ladies in a gondola, which has stopped 
beneath the terrace. In the distance the buildings of the city. 
form a pretty picture, dominated by a lofty dome, and with 
the graceful masts of ships showing here and there among the 
trees. The scene is full of peaceful atmosphere, and overhead 
is the glorious blue of a perfect Italian sky. 


Stgned on the right, Rico 


Height, 27 inches ; width, 16% inches 


1a Fy di 7 rs CoLLECTION oF M. KNOEDLER & Co. A$) / GA] y ip i ceo 


NO. 11. VENICE, BY MARTIN RICO. 


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“1826-1899 
MARKET MORNING, CONSTANTINOPLE 


Before the shops of a bazaar in Constantinople, the many- 
colored stream of Oriental life is passing—women veiled to 
the eyes, fruit vendors, a mountaineer with his heavy sword, 
and others. Awnings have been stretched to provide a shel- 
ter from the rays of the sun, and on the right some blocks of 
marble from a ruined building are scattered upon the ground. 
Behind the shops the dome and minarets of a large mosque 
rise against the deep-blue sky, and in the distance the tall 


buildings of the city rise tier on tier up the slope of a low hill. 


Szgned on the lower right, A. PASINI 


4 GS [ ; Hetght, 18 cnches ; length, 22 inches 


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THE TELEGRAM 


BY 


IMUNDO MADRAZO 


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No. 13 


RAIMUNDO MADRAZO 


SPANISH SD Ievlee 


1841— re 
THE TELEGRAM 


On a sofa of gilt and silk sits a young woman holding 
in her hand the blue slip of a telegraph form. She wears a 
petticoat of mauve silk, over which is a negligée of white, con- 
fined at the waist by a broad satin ribbon. Her dark head 
is supported on her left hand, on the third finger of which 
gleams a wedding ring, and from the expression of her face it 


is evident that the telegram contains bad news. 


Stgned on the lower left, R. MApDRAzO 


flerght, 26% inches ; width, 14 inches 


3 GG fCouiection oF M. KNOEDLER & Co. Bee /F¢ / 6-0 


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THE 


TELEGRAM, 


BY RAIMUNDO MALRAZO, 


eS ena va £0: 
i | FRIEDERICH KRAUS $ 
Aol Prveler GERMAN 

1826— 


THE BUTTERFLIES 


In a tangled garden, surrounded by an ancient wooden 
paling and flanked by the timbered walls of an old red-brick 
building, a little girl is chasing butterflies. In a little red skirt 
and chemise, her stockings falling about her boot tops, and her 
eyes dancing with excitement, she stretches out her hands to 
catch a big yellow insect that is settling on a tall purple flower. 
Pansies and nasturtiums grow about her feet, an old apple 
tree casts its shade above her head, and the path through the 


garden is overgrown with weeds. 


Signed on the lower left, F. Kraus 


Hletght, 26 inches ; width, 19% inches 


oa 6/7 Kicg eon WG 7 06 Atn JE 0 


No. 15 


FREDERICK HENDRICK KAEMMERER 
FRENCH ‘ 


SKETCHING IN THE MOUNTAINS 


1830-1892 


Stretched upon a mossy couch of green turf beside a 
precipice in the mountains, a young lady lies reading a book 
of verses. She wears a simple gown of flowered muslin, cut 
low to reveal the soft curve of her bosom, and with short 
sleeves. Her feet, shod in pink-silk slippers, point saucily 
skyward, and her chip hat and a gourd of wine lie beside her 
fair head. By her side sits a young man in his shirt sleeves, 
sketching the expanse of blue mountains which rise on the 
farther side of the valley. He wears a waistcoat and breeches 
of green velvet, his shirt is of fine lawn with lace cuffs, and his 


hair is tied in a queue. 
Stgned on the lower right, F. H. KAEMMERER 


fletght, 21% tnches ; length, 31% inches 


2738 po. Hae 2b. 17:50 Re fp, 


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No. 16 


FERDINAND HEILBUTH 


WOH Pillan GERMAN 


1826-1889 


A MORNING WALK 

Gaal young lady is taking her morning walk along the 
banks of a placid river which flows through the center of the 
composition. She wears a black dress of bygone fashion, a 
small straw hat is perched on top of her head, and her hair 
falls from a chignon to her waist. With her parasol balanced 
across her shoulders, she gazes contemplatively from the still 
flowing waters as they run between green, well-wooded banks, 
to the red roofs of a small village in the middle distance. 
The blue of the sky finds an echo in the depths of the waters, 


which reflect also the green of the trees and the pearly white 


of a large bank of clouds. 


Stgned on the lower left, F. HEtLBuTu, '82 


Fletght, 238% inches; width, 17 inches 


se 


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ea CHARLES FRANCOIS DAUBIGNY 
+ FRENCH 


MORNING ON THE MARNE 


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An early morning scene along the bank of one of 


Daubigny’s beloved rivers. The sun has scarcely risen and 
the mists of night still brood over the low-lying meadows, 
lending. a pearly quality to the atmosphere and blending dis- 
tant objects into a vague mass of form and color. Upon the 
right the river bank slopes sharply upward, and the summit 
is occupied by a low, rambling farmhouse shaded by several 
trees. The plaster walls and red roof make an agreeable con- 
trast with the green of the foliage, and a brilliant note is added 
to the composition as an errant sunray strikes one corner of 
the building, making it flash into pure white. By the water’s 
edge a number of women are washing clothes, a man is baling — 
: out one of the boats which are moored close by, and a 
: woman is carrying a jar of water to the house. The sky is 
covered with a mass of white cloud, through which appear a 
few patches of blue, and the still surface of the water reflects 
the varying aspects of the heavens and the deep green of the 
(recs, 


Szgned on the lower right, Dausicny, 1864 


Height, 15 inches ; length, 26% inches 


SS $/ COLLECTION OF M. KNOEDLER & Co. f See o foot /p 7 
/§F) Ges Fetf/Svvo 


‘ANDIANVG *A *O Ad ‘“INUVN AHL NO ONINYOW Sere 


feet hee 


No. 18 


NARCISSE VIRGILE DIAZ DE LA PENA 


FRENCH 


5? 1807-1896 [wedter C2 
Ry LPILE DES AMOURS 


Deep in a bosky glade a number of beautiful nymphs 
recline in various attitudes upon the velvet turf. With their 
clothing draped loosely about their lower limbs, their shapely 
arms and soft bosoms shining in the sunlight, they sport with 
a crowd of little cupids who flit through the air or run merry 
races upon the flower-bejeweled grass. In the distance is- the 
glint of water as a river flows gently by, and beyond the eye 


ranges over a verdant landscape to a mountain, blue upon 


the horizon. Through the trees shines the azure sky, in 
whose depths float masses of billowy cloud. 
Signed on the lower left, N. Diaz, 57 

Fletght, 16% inches ; length, 24 enches 


Mrs. Mary J. Morcan Coirection. New York, 1886 J 7 @ 6 


‘7VId ‘A ‘N Ad SSUNOWV Saad ha gO | 


ts 


No. 19 


JULES DUPRE 


FRENCH 


2’ 1812-1889 . Maden y 
viv : AUTUMN MORNING §tOcornodcie. 


By the margin of a silvery stream a man is mooring his 


boat in the shade afforded by a clump of trees. From the low- 
lying bank a roadway: leads across a green field to a couple of 
humble cottages in the middle distance. Beyond, the ground 
rises into a graceful, rounded hillside, which stretches across 
the picture. Overhead the sky is a serene blue, with a heavy 
bank of rolling cloud near the horizon, from behind which a 
sun ray darts down, silvers the trunk of a tree in the fore- 
ground, and falling just behind the cottages, affords a brilliant 
note of light among the prevailing low tones of the picture. 
The blue of the sky is reflected in the mirror-like surface of - 
the river, save where the dark green of the trees plunges the 


water into semiobscurity. 


Sztgned on the lower right, JuLES Dupri 


Fleight, 21% inches; length, 25% inches 


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JULES DUPRE 


FRENCH °° Maengte 


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1812-1889 . =| 
~LANDSCAPE—CATTLE AND POOL 4 
2 A 
In the golden glow of a late summer’s afternoon, the a 
herdsman drives his cows down to their drinking-place. The | 
procession strings out across the meadow, the leaders already be 
standing knee deep in the shallow waters of the old pond. ft 


Beyond the meadow stands the farmhouse, a low building with 
a thatched roof, shaded by the spreading branches of a huge 
oak, and in the far distance the dim outline of blue hills 
stretches across the picture. Low down upon the horizon isa. 
heavy stratum of cloud, tinged pink by the rays of the declin- 
ing sun, while overhead the heavens are of a still, calm blue, 


full of peaceful atmosphere. 


Stgned on the lower right, JuLEs Dupré 
Fletght, 20% enches; length, 31% inches 


COLLECTION OF M, KNOEDLER & Co. 


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No: 21 


PAUL JEAN: CLAYS | 


BELGIAN 


1819-1900 


vessels thee are, broad- Beamod and blunted their ; 


pines by two square ENO Te shoe DOE sails fap 


long smudge of smoke. Overhead the sky is hei 
with clouds, the blue showing through in places, t ‘ 
answering note in the mirror of the depths below. 


‘ 


Signed on the lower right, P. J. Ciays 


Inscribed on the back, ‘‘Groupe de bateaux Wins l Escaut par - 
matin. P. J. Clays.” 


4 

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No. 22 


JEAN BAPTISTE CAMILLE COROT 


nee i) 0 
Pigs | 


LE PATRE—EVENING ON THE LAKE 


On the lower slope of a rough hillside, overgrown with 
long coarse grass and rising in the distance into a precipitous 
mass of rock, stand two fine trees, the principal feature of 
the composition. Their trunks grow smooth and erect, and 
their branches spread symmetrically across the picture, un- 
harmed by the fierce storms of winter. The lighter twigs, 
with their feathery burden of leaves, are silhouetted gracefully 
against the sky, the foliage showing every gradation of tone, 
from ‘the delicate green of the tender young shoot to the yel- 
lower tinge of the withered leaf. In the distance are the white 
walls and red roofs of a large rambling structure, built on the 
hillside, and at the foot of the trees are a man and a woman 
talking, the latter bearing a heavy staff in her hand. Upon 
the summit of a low knoll stands a man beside a solitary 
sheep, gazing out over the surface of a large body of water, 
which extends, gray in the evening light, to the distant hori- 
zon. ‘The sun has set, and his last rays stream upward, tingeing 
the under side of the clouds with every tone of orange and 
gold, while overhead the sky is a delicate blue, flecked with 


early clouds which float serenely in the calm atmosphere. 


Signed on the lower left, Corot 


Fletght, 45% inches; width, 35% wnches 


— 
ae or M. KNoEDLER & Co. Pe ap a an/y é; 
Fi 


(See Frontisptece) 


EP. PE ae Si i]s «o 


No. 23 


WILLIAM TROST RICHARDS 


AMERICAN 


- if 
, , 1833-1905 4G Khim 


HARBOR ON THE COAST OF CORNWALL 


‘ WATER COLOR 


The scene shows the entrance to the harbor of a small town 
on the rock-bound coast of Cornwall. To right and left the 


: cliffs rear their craggy precipices sheer out of the water, their 
i lofty sides half concealed in the floating wrack of mist, the 

early sun glinting on the many-colored facets of the rocks. 
In the center of the picture a low promontory juts out into 
| the water, and on it a line of men are hauling at a rope, 
| warping a small vessel through the narrow entrance to the 
| harbor. A couple of ships are already moored in the shelter 
of the breakwater, built of massive stone, and the waves 
| break into foam as they lap against jetty and rocky wall. 
| Between the cliffs on either hand is a broad expanse of sky 
| covered with heavy vaporous cloud, which the early sun is 


rapidly dissipating, giving a glimpse of acalm blue sky beyond. 
| 
Signed on the lower left, WM. T. Ricuarps, 1881 


i | Hetght, 23 inches ; length, 36% inches 


sROUP OF CARVED 


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PeEMARCH 96, foo 9 sy 
ICAN ART GALLERIES | 


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COLLECTION OF JADE 


24—Two SMALL SPECIMENS OF WHITE JADE 


A—Amulet of carved lotus design. 
B—Statuette of Chinese boy. 


25—Two MINIATURE RouGE BoxEs 


Carved white jade; one flat peach-shaped, the other low circu- 
lar form. 


26—WHITE JADE AMULET 
Carved in design of a closed bag. 


27—MiniaTuRE WHITE JADE ORNAMENT 
Fantastic animal, carved in white texture. 


28—SMALL GREEN JADE ORNAMENT 
Tiger and cub. 


29—SMaLL WHITE JADE PANEL 
Landscape and river view, carved in low relief. 


| 30-—WHITE JADE ORNAMENT 
. Kylin, with branch of lotus. 


31—GREEN JADE ORNAMENT 
Chinese boy astride an ox. 


32—SMALL (7RAY JADE PANEL 
Dragon and cloud forms, carved in openwork designs. 


33—WHITE JADE GIRDLE CLASP 
Scepter shape. Dragon, carved in relief and undercut. 


34—WHITE JADE AMULET 
Carved in design of a Chinese sword; dragon and archaic designs 
executed in relief. 


35—MINIATURE JADE VASE 
Oviform, greenish-white texture; archaic dragons, carved in 


ief and undercut. weet 
relief Height, 21% inches 


36—MINIATURE STATUETTE 


Carved jade of greenish-white texture; Chinese boy with pet 


toad. 
Height, 2% inches 


37—WHITE JADE AMULET 


In design of flower basket with swinging handle, finely carved 
in openwork. 


38—MINIATURE WHITE JADE VASE 


Beaker-shaped, finely carved and fashioned after an ancient 
bronze. 


39—MINIATURE VASE 


Pale-yellow texture, chicken and sacred fungus, carved in relief. 


40—AMULET 


Carved white jade. Vase design, with swinging handle. Shou 
mark in relief. 


41—AMULET 
Carved white jade. Butterfly design, with pierced svastika. 


42—MiniaTuRE WHITE JADE VASE 
With loose ring handles, fashioned after an ancient bronze. 


43—WHITE JADE GIRDLE CLASP 


Dragons and archaic designs, carved in openwork. 


i) 44 THREE JADE WINE Cups 
Moss-green texture; one in miniature form. 


45—Fri Ts’u1 FINGER RING 


Fine emerald-green texture. 


46—RARE THUMB RING : 
H Emerald-green jadeite, of exceedingly fine color. 


at 47—JADE BRACELET 


White texture, with emerald-green markings. 


48—WHITE JADE AMULET 
Carved in design of a basket of peach fruit, with loose handle 
in design of a symbolical bat. 


49—Beautirut Fer ts’ur Roucr Box 
Flat circular shape, of exceedingly rare quality. 


50—MIn1aTuRE JADE Box 


Dark-green texture, finely carved archaic designs, executed in 
low relief. 


51—Imperiat Fer ts’ur AMULET 
Carved in design of lotus and insect. 


52—CARVED JADE STATUETTE 


Gray-white texture. A Taoist immortal. 
Height, 3% inches 


53—WHITE JADE ORNAMENT 
Cucumber and vine, finely carved and undercut. 


54—GRay JADE ORNAMENT 


Carp and lotus, artistically carved. 
, Length, 434 inches 


55—GRAY JADE ORNAMENT 


Koi fish and lotus, finely carved. 
Length, 4% tnches 


— 56—WHITE JADE ORNAMENT 


Fantastic animal, finely carved. 
Length, 3% inches 


57—WHITE JADE ORNAMENT 
Gourds and vine, finely carved in relief and undercut. 


58—SMALL COUPE 


Cherry-blossom design, beautifully carved in fine white jade; 
branches and blossoms executed in relief and undercut. 


59—Two OBLONG JADE PANELS 


Dragons, cloud forms and symbols, finely executed in intricate 
openwork carving. 


60—Gray-WHITE JADE ORNAMENT 


Dragon and tree peonies, skillfully carved in openwork. 
Length, 5% inches; width, 2 tnches 
61—Two LisaTion Cups 
Fashioned in white jade of almost eggshell thinness. 


62—MINIATURE INCENSE BURNER 


Carved white jade, fashioned after an antique bronze. Archaic 


scrolls in low relief. 
Freight, 3 inches 


63—MINIATURE TRIPOD Koro 
Carved white jade. Low circular shape, with rudimentary 
handles. Bands of floral scrolls in low relief. 


64—INDIAN JADE COVERED Box 


Blossom shape, with four compartments, and ornamentation of 
lotus flowers, carved in low relief. 


65—SMALL JADE CouPE 


With dragon handles, gray-white texture, landscape and river 
view, carved in low relief. 


66—WHITE JADE OvaL PANEL 
Vase of peonies and two symbolical bats, carved in low relief. 
Length, 4% tnches 
67—InpIaAN JADE WINE EWER 
Gray texture; lotus and border design, carved in relief; highly 


polished surface. 
Fleight, 4 inches 


68—JADE GouRD 


Pale-yellow texture, highly polished surface. 
Height, 33% tnches 
69—JabE Roucre Box 

Gray-white texture; cover ornamented with lotus, carved in 


low relief. 
Diameter, 234 tnches 


TO—SuPERB MILK-WHITE JADE CouUPE 
Leaf shape on tripod, carved and highly polished. 


Diameter, 234 inches 
TI—SuUPERB SACRIFICIAL WINE VESSEL AND TRAY 


White Indian jade of very thin texture, carved and highly 
polished and incrusted with rubies. 


72—JapDE NECKLACE 


Composed of 18 gray Indian jade beads. 


73—GRay JADE INRO 


Incrusted with Fei ts’ui and semiprecious stones. 
Length, 5% tnches 


74—Jape AMULET 


Gray-white texture, archaic dragons Shou character and symbols 
carved in openwork. 
Height, 53% inches 
75—WRiTERS’ WaTER CoupE 


White jade. Branches of magnolia, and figure of Chinese boy, 
skillfully carved in relief and undercut. 
Diameter, 4% inches 


76—WHITE JADE VASE 


With cover. Cylindrical shape. Pine tree and rocks carved in 
low relief. Cover incrusted with uncut ruby. 

| Fleight, 4 inches 
77—JaDE BEAKER-SHAPED VASE 


Pure-white texture. The inner and outer surface highly polished. 
Freight, 3% inches 


78—SuperB INDIAN JADE JAR 


Oriform, gray-white texture. Exquisitely carved ornamentation 
of chrysanthemum flowers, executed in relief; handles incrusted 
with rubies. 
Height, 3% inches 
79I—EXQUISITE JADE COUPE 


Gray-white texture, beautifully carved in design of plum blos- 
som; branches and small blossoms carved in intricate openwork; 
highly polished surface. 

Diameter, 4% inches 


80—SMALL JADE VASE 


Gray-white texture, with emerald-green markings and brown 
matrix, carved in design of a pine-tree stump, with branches and 
stork. 
: freight, 33% tnches 
81—JADEITE SAUCER 
Gray-white texture, with beautiful emerald-green markings. 
Diameter, 4 inches 
82—SMALL JADE VASE 
Dark-green texture; carved and fashioned after an ancient bronze ; 
archaic scrolls, palmettes and gadroons, executed in relief. 
Fleight, 4% inches 
83—JADE STATUETTE 
Figure of a priest, carved in jade, of pale-green texture. 
Height, 53% inches 


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8i—Jape Vase ee 4 
Pale-yellow texture, carved in design of a a 
porting a miniature vase; highly polished salam 


85—Jape Hanoinc Vase | 
Pale-yellow texture, carved archaic design, with oose 


86—BeavuTiFuL Jape INCENSE BURNER 
Fine dark-green texture. Oblong shape, with four f 
handles, of dragon design. Archaic, scrolls and | 
carved in low relief. 5 


87—Supers Jape Teapot * _ 
Pure white texture, carved lotus-flower ace hi gh ; realtones 
surface. — 


88—BeautiruL WHITE JADE Vase wiTH CovER j 
Tall, slender, quadrilateral shape. Landscape, figures ar 


cliff, carved 2 jour and in bold relief. —. 
Height, 2 inches 
89—BeautiruL Wuite Jape Koro = " 
Peony-flower shape; branches of peonies oe 
high relief. Openwork cover. 


90—YELLOW Jape CoveRED VAsE 


Flat oviform. Figures of two Chinese pon on nee 
in high relief and undercut; lotus plants se Greek fret t 


incised. 
Height 
91—Beavutirut Green Jape Trirop Koro 
Semiglobular shape, with rudimentary handles. 
lotus and leafy scrolls, finely carved in relief. 


92—InpDIAN JADE VASE $ 
Flat oviform, with handles of lotus and leafy scrolls, carved <0 


relief and undercut. Incised and gilded scrolls and i 
with rubies and emeralds. 


93—SuPEeRB Jape INcENSE BuRNER 
Gray-white texture. Beautifully and intricately carved @ ; 
with peonies and leafy scrolls. Globular shape, with two han dl a 
formed of branches of peonies and loose rings. ‘< 
Height, 5 inches; diameter, 4% aa 


carve in bold relief and underest. Archaic 


ee ee i | Height, 35 inches . 

she 7 : +4 
ait of archaic scrolls y 
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ee ree, BK Backes > diameter, 63% imchzs ’ : 

1 shape. Chinese legendary sub- : 


Height, 3 inches > dtameter, 6% inches 


AND OTHER TAPESTRIES 


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RUSSIAN, 


LADY, 


A 


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TAPESTRY 


L20- 


NO. 


Preface 


This collection has both an immediate and a more protracted fas- 
cination. It is at once so superb in its entirety and so distinguished 
by the varied excellence of its several specimens, that the lover of 
beautiful things will yield directly to its spell. On the other hand, 
to any one who will pursue his study even a little further than a cas- 
ual inspection, it will reveal a mine of interest, not only glittering 
on the surface with gems of technical achievement, but also rich with 
suggestion of phases of civilization and of spiritual thought that lie 
embedded but are readily discovered. 

It assists one’s respect for a tapestry, as a fabric both of extraor- 
dinary durability and of most patient and skillful craftsmanship, to 
recall the definition that it is a mosaic of threads held in place only 
by the warp. Each thread, that is to say, has been separately tied to 
it; the shuttle has not, asin ordinary weaving, been shot through the 
warp from side to side. When the warp has been stretched horizon- 
tally, the tapestry is said to be de basse lisse, but since the adoption of 
the vertical direction at the end of the fifteenth century, a tapestry is 
usually de haute lisse. 

It is sometimes confused with needlework. Thus it is customary 
to speak of the Bayeux Tapestry, whereas that representation of the 
invasion of England by the Normans is really embroidered in wool 
upon a web of linen. The distinction, in fact, between an embroi- 
dery and a tapestry is that in the former case the wool, silk, or gold 
or silver thread is stitched onto an already existing fabric, whereas 
in the case of tapestry it supplies the actual woof of the textile that 
is in process of being woven. 

A similar distinction separates brocade from embroidery. The 
former is woven directly onto the warp, though not as in the case of 
tapestry, with a separate tie upon eachstring. And another distinction 
is that the silk thread of the woof is drawn up on the surface to form 
a mass of loops which are afterwards cut, so that the raised pile 
resembles the close fur of an animal. In the superb specimens of 
this collection are examples of the so-called double and triple pile. 


In the early ‘‘Eighteenth-Century Spanish Frontal,’ No. 115, for 
instance, the main ground represents the highest pile, while the 
depressed mottle that sprinkles it has been cut down to the second. 
In this case the lowest pile is not disclosed, but it can be seen in the 
exquisite example of double pile, the **Scutari,~ No. 995 Here the 
lowest pile or foundation is of satin upon which the second pile has 
been drawn up so as to form a pattern in relief. This specimen also 
illustrates another definition of brocade, namely, the decorating of 
a silk surface with threads of gold or silver, for in the repetition of 
leaves and carnations the satin is overlaid with silver. But the most 
sumptuous examples of both methods of brocade are afforded by the 
copes, in which the velvet surfaces present a diaper of second pile, 
relieved by a higher, while the satin foundation is enriched with a 
flat and raised threadwork of gold through which the highest pile 
appears in detail. Another splendid example is the Spanish brocade, 
No. 103,.in which the ornament in reserve is of satin, edged and 
lined with second pile and occasionally embellished with gold, while 
the third pile forms the relief. . 

The embroideries: in this collection, represented in the altar 
frontals, are miracles of handiwork that illustrate not only an 
exquisite taste in color and a command of ornamental design, but 
also the varieties of expression that may be secured by varying the 
height of the details, and by the alternating of different kinds of 
stitch. Examples will be found of afpligué, where the form has been 
cut out of silk fabric, and sewn fast to the ground, the edges being 
enclosed with stitchwork. The process of couching also is abun- 
dantly illustrated, in which the gold, silver or silk has not been 
drawn through the fabric, but laid on it and secured by stitching. 
The scope of this method is seen in the variety of parallel directions 
in which the superimposed threads have been laid. One is repaid 
also by an examination of the multiplication of effects produced by 
the degree to which the ornament has been raised and the method 
employed in securing relief. By this time one has yielded to the 
fascination of studying the exquisite inventiveness that has varied 
the character of the stitch to the feeling of the ornament. In this 
variety it is easy to see the kinship that exists between embroidery 
and lace and to realize how much the lace-maker owed to the earlier 
worker with the needle, and how the latter, in return, borrowed from 
the younger art. 

One will find, too, in this collection examples of the embroiderer’s 
indebtedness to the example of the old potters, to the Rhodian ware 
especially, and to the latter’s source of inspiration, Persian, Indian 


and Chinese influence. Nor is it only in the pattern of the designs 
and the choice of colors that, in the ancient examples, textiles and 
embroideries are akin to pottery and porcelain. The arts are at one 
in the correspondence of feeling that pervades their products. Each, 
in fact, is but an alternative expression inspired by a similar love of 
beauty of nature worked out into innumerable conventionalizations 
with zealous, indefatigable devotion by nameless workers; more- 
over, with such wealth of invention and so subtle a feeling that these 
allied arts present to students the most suggestive records of the 
civilizations of the past. 

The examples of tapestries in this collection, representing 
German, Flemish and Italian work of the sixteenth century, offer 
many interesting comparisons, as the character of their designs, at 
first Gothic in feeling, gradually yields to Renaissance influence. 
What a contrast, for instance, separates the German ‘‘ Adoration of 
the Shepherds,” No. 128, from the Flemish-Gothic ‘‘ Pieta,’’ No. 127, 
and both from the Italian ‘‘ Nativity,” No. 126. In the last the 
figures are no longer strung out in line or placed one above another 
in flattened planes, suggestive of Gothic high-relief sculpture. The 
group is geometrically arranged, while the draperies also, by their 
flowing lines, bespeak the classic influence. The draperies of the 
‘** Pieta,”’ however, have a grace of natural arrangement, as compared 
with the hard-edged, angular German forms that still betray the 
influence of Gothic stone-and-wood carving. Yet.even the Italian 
piece, in its landscape background, inclines toward the built-up, 
flattened style that is shown in a more extreme degree in the 
‘* Adoration.” It is, after all, in the Flemish example, ‘‘ The Meet- 
ing of Isaac and Rebecca,” No. 129, executed under Italian influence, 
that the Renaissance mastery of pictorial effects is best represented. 
Here the landscape duly recedes, and specially admirable is the 
treatment of the middle distances, the group of camels and servants 
occupying their own particular plane with so just a precision. 

While, however, this gradual improvement in design is. notice- 
able, it does not escape one that in the matter of expression the 
older examples are superior. Both this last Flemish piece and the 
Italian one fall behind the earlier Flemish and the German in the 
individual characterization of the figures, in the dramatic freedom 
of the gestures, the expression of the faces, and, most of all, in the 
devout suggestion of the whole scene. The later work, despite its 
superior elegance and mastery, perhaps because of it, may seem 
artificial and sophisticated beside the naive sincerity of the earlier, 


, 99 


particularly when compared with the exquisite ‘‘Pieta.”” This extraor- 


dinarily beautiful piece has that rarity of refinement and poignancy 
of expression peculiar to the Flemish and French painters; qualities 
evolved from the interrelationship of the two schools; a combination 
of the elegance of French feeling with the sincere realism of the 
Flemish. 

What a jump from this example to the Italian ‘‘ grotesques,” 
that are reputed to have been woven for the bed of Margaret of 
Parma! Their treatment of arabesques, involving incongruous com- 
binations of human, animal and plant forms with whimsicalities of 
architecture, is such as was perfected by Raphael, and carried even 
further by his pupil, Giulio Romano, after the example of the remains 
of ‘‘antick and landskip worke of painters, found in ancient crypts 
and grottoes.” In the sportiveness of their designs, they rival the 
subsequently discovered ‘‘grotesques”’ of Pompeii. Can the main 
figures be intended to allegorize the happiness of Margaret respec- 
tively with her first and second husband? If so, the artist’s imagina- 
tion has extended beyond the invention of the arabesque, since his- 
tory records that the duchess, like her contemporary, ‘‘Good Queen 
Bess,” was a lady of masculine charms. 

But whether or not humor underlies these panels, it certainly 
comes to the surface in the needlework frieze of ‘‘ Tobit and Tobias,” 
though the story is illustrated very sincerely and sympathetically. 
The gusto of the designer, however, appears in the use he has made 
of miraculous opportunities, particularly in the delineation of that 
dangerous spirit of evil, Asmodeus, while his delight in the dog is 
undisguised. The latter, in his continual accompaniment of the 
scene, is a sort of comic chorus of one, capering around the principals 
and interpreting the rise and fall of their spirits. 

The frontals individually and collectively are superb, and many 
times more fascinating, if one enters, even as a sympathetic outsider, 
into the symbolism and devotion they enshrine. For, while much of 
the ornament is purely decorative, the main details, and even the 
very color of the groundwork, not to speak of the devotion that in- 
spires the whole conception and its execution, have their meaning. 
White and silver, emblematic of purity and joy, are the ground colors 
of Christmas and Easter and of all Feast days not associated with the 
memory of martyrs. For these the color is red, typifying blood. 
Violet again, symbolic of penitence, is reserved for Fast days, except 
the supreme occasion of Good Friday, when the hue is black. Green, 
as the ordinary garb of nature, clothes the altar on days which are 
neither Fasts nor Feasts. 

For the most part, the frontals in this collection are Spanish of 


cs 


the seventeenth century. Consequently, they respond to that devo- 
tion to the cult of the Virgin which received fresh fervor, especially 
in southern Spain, through the bull of Pope Paul V, issued in 1617, 
concerning the doctrine of the ‘‘Immaculate Conception.” 

For it was the church and crown of Spain that had been foremost 
in urging the settlement of this disputed question; and when the 
document appeared forbidding the teaching or preaching of any opin- 
ion contrary to that doctrine, the joy of the Spanish people, espe- 
cially in Seville, manifested itself in an outburst of religious services 
and secular entertainments. 

It was in the ardor of this national rejoicing that these miracles 
of handiwork were created, at a time when the church was the most 
powerful element of the state, and the clergy were worthily revered 
for the piety of their lives. The supreme example, as far as this 
collection is concerned, is the highly elaborated specimen, No. 118. 
It may not be so beautiful artistically as some of the others, though 
it vies with any of them in the skill and versatility of its craftsman- 
ship. Its beauty is rather in the spirit of devout and happy poetry 
that it embodies. To the student also it is interesting for the light 
it throws on ecclesiastical realism in Spain. Realism is the charac- 
teristic keynote of all Spanish art, and when it came to the enforcing 
of sacred truths, the church took advantage of it and sought to reach 
the hearts of the people, on the principle of ‘‘seeing is believing.” 
It was not enough, for example, to tell of the beauty of the Virgin, 
that it was as the beauty of ‘‘a garden enclosed”’ or as a ‘‘ fountain 
of gardens.’”’ Let the similes be represented in concrete shape, that 
the meaning of the words may be literally interpreted. And who 
shall say that the naiveté of such literal presentment was ineffectual? 
Certainly not ourselves, for a large proportion of whom the daily 
press prevides in secular matters just such naive pictures to enforce 
the meaning of its news. 

While in this frontal all the details of the design conspire to extol 
the Virgin, her figure forms the climax, and it is worth noticing how 
closely the representation follows the rule for the painting of the 
subject of the ‘‘Immaculate Conception” prescribed by the church 
and recorded by the artist and historian of Spanish art, Pacheco 
‘« About her are to hover cherubs” (omitted here) ‘‘ bearing emblem- 
atic boughs and flowers, and the upper glory is to reveal the forms of 
the Eternal Father and the Mystic Dove; and she is to stand upon a 
crescent moon with the twelve stars forming a celestial crown.” The 
colors of her draperies were to be blue and white, though the latter 
color was frequently changed by the artists of this time to rose. 


In the flowers that sprinkle these frontals, some of them natural- 
istic in form, others conventionalized, there is enfolded a world of 
thought and poetry. Here they are employed directly as emblems of 
the gracious attributes of Madonna or of Christ’s love for His Church 
and for the use of most of them authority can be found in some Bibli- 
cal text. But this devotion to the symbolism of flowers is not confined 
to the religion of the Jews and Christians. It permeated Eastern 
civilization and formed a leading motive in its religion and its life, and 
consequently in the decorative arts that sprang therefrom. Quite in- 
dependently of Jewish influence, it passed into the religion, life and 
arts of Greece and Rome, and the early Christians were but recogniz- 
ing its hold upon the imagination of the people when they recolored 
the symbolism to interpret the faith of Christ. 

Thus, in the case of the rose, the Persian myth attributes its 
creation to the demand of the flowers for a queen who might reign 
over them night and day, since at night the drowsy lotus sleeps. 
Hence the poet Sadi entitles his work on wisdom and beauty 
‘‘Gulistan,” ‘‘The Rose Garden.” The Greek poets, on the other 
hand, say that a nymph, aroused from sleep by the kiss of Apollo, 
was suffused with blushes and changed into a rose. The Romans, 
coarsening this beautiful idea, made the rose the emblem of convivi- 
ality, associated with Comus and Bacchus, from whom the Christians 
rescued it as an emblem of their joy in Garis 

The lily was dedicated by the Greeks to Hera and by aie Romans 
to Juno, while the Christians sanctified it to the worship of the 
‘‘Queen of Heaven.” In heraldry and decoration it grew into the 
conventionalized form of the fleur-de-lis, and thus became identified, 
or perhaps confused, with the iris, which, in its time, had been 
named by the Greeks after the rainbow, the virgin intermediary be- 
tween the gods and men. 

In the myths of Hellas the carnation was ‘‘ the flower of Zeus” 
the anemone sprang from the blood of Adonis, beloved of Venus, 
while Christian legend tells that the anemone, blossoming beneath 
the Cross, was changed from white to crimson by the blood of Christ, 
and that the carnation bloomed miraculously on the night of the 
Nativity. 

The tulip, symbol to the Persians of passionately consuming 
love, blooms so profusely in Syria that it is considered by some to be 
the flower referred to by Christ: ‘‘ Behold the lilies of the field—even 
Solomon in all his glory was not arrayed like one of these.” 

Tulips were imported into Europe by the Turks, and became 
first known to the Western nations in 1559 in the form of the turban- 


flower or turk’s-head, an example of which appears on one of these 
frontals. 

Finally, as the West became familiarized through commerce with 
the art of the East, Western decoration gained the lotus flower, the 
‘‘Egyptian bean,” the nelumbo; sacred above all flowers to the 
Oriental imagination; regarded, since each blossom is self-productive, 
as the symbol of the world’s productive force, the ‘‘ cradle of creative 
might,’ and, because of its threefold calyx and its corolla of cir- 
cular petals, as the symbol of tri-unity and eternity, of the endless 
cycles of existence. 

Thus in cycles also circulated the thought of the world in its 
yearning after beauty, as succeeding generations of nameless artists, 
in diverse lands, wrought at their solitary looms and wheels and in 
quiet convent work-rooms, until the colossus of machinery appeared 
and stamped out the inspiration. 


99—BEAUTIFUL OLD SCUTARI 


VENETIAN. SEVENTEENTH CenTuRY. The ground is of cream- 
white satin with floral embellishments of raised velvet, the color 
of which is a peculiarly fascinating apple green or chrysoprase. 
The forms are based upon the motive of the tulip and carnation, 
conventionalized, as in the following example, under the influ- 
ence of Rhodian ware. The tulip design grows out of a center 
composed of two circles, a smaller within a larger one, wrought 
of cloth of silver, with a leaf and stem form within the former, 
while that of the carnation issues from a tulip. Im each case 
the design spreads into the general form of the palmette, upon 
which-are displayed sprays of the tulip and carnation flow- 
ers, more nearly resembling nature. Intercepting the series of 
forms are arrangements of serrated tulip leaves flanking the 
circular petals of the carnations. These are brocaded in silver 
thread. At the top and bottom the panel has a border of con- 
ventionalized design that has its foot toward the center. It is 
composed of a repetition of tulip sprays within a serrated leaf, 
with two carnations springing from its stalk. 


Length, 44 inches ; width, 25 inches 


100—OLpD SPANISH. VELVET BROCADE 


SEVENTEENTH Century. The ground is of garnet-colored raised 
velvet, with floral and leaf patterns in reserve, the designs of 
which suggest the influence of Rhodian ware, or of the still older 
Persian treatment of these motives. The flowers here conven- 
tionalized are the tulip and carnation, with prominence given 
to the former. ‘The main design, in fact, is the repetition of a 
trio of large tulip forms, executed upon the warp in cloth of 
gold, with raised details of the garnet velvet pile. It is flanked 
near the top by serrated tulip leaves in cloth-of-gold reserve, 
veined with a repeated device in velvet pile of a flower, stem 
and leaves. At the base of the tulips are two palmette-shaped 
forms in cloth of gold which represent highly conventionalized 
carnations, upon which, in raised velvet, are distributed more 
naturalistic renderings of the same flower. It is a specimen of 


superb magnificence. 
Length, 62% inches; width, 25 inches 


101—BeautiruL EcciesiasticaL Emprot- 

DERED PANEL 
ITALIAN RENAISSANCE. These three 
examples of needle painting, em- 
broidered in gold, silver and silk on 
old ruby velvet, are portions of the 
orphrey of a vestment. The sub- 
ject of the top picture is the Ma- 
donnaand Child. Robedina gown 
of old rose and a blue mantle, both 
edged with silver, she is standing 
on a silver crescent moon above a 
tessellated pavement. In her right 
hand she holds the flower and bud 
of alily. The scene is enclosed by 
an arch supported on two foliated 
columns of Renaissance design. 

A corresponding architectural 
feature frames in the second and 
third pictures, but is supplemented 
in their case by a space of beautiful 
old blue with a scrollwork in diverse 

stitches of gold, centering about 
a fleur-de-lis from which spring 
two exquisitely wrought lilies, out- 
lined with red. The middle picture 
contains two figures, the one on the 
left holding a scimitar and a book, 
the other a book also, though he 
points to his companions. Their 
companionship suggests a couple 
of saints whose names are usually 
linked together, and to whom the 
church in which the vestment was 
used was perhaps dedicated. They 
may be SS. Philip and James, since 
the scimitar being of oriental de- 
sign may recall Acts xu, 2: ‘‘And 
he [Herod] killed James, the brother 
of John, with the sword.”’ 

In the third picture stands St. 
Jude, resting a foot on a pile of 
books and holding a volume in one 
hand and in the other a halberd, 
the instrument of his martyrdom. 


Length, 54 inches, width, 12% inches 


102—EccLESIASTICAL EMBROIDERED PANEL 


IraL1AN RENAISSANCE. Like the preceding panel, this has been 
a portion of the orphrey of a chasuble. It consists of three 
examples of needle painting mounted on sapphire-blue Genoese 
velvet. The subject of the top one is the Madonna and Child. 
She stands on a tessellated pavement beneath an arch of Renais- 
sance design, her raiment being worked in gold over a silk 
underlay of blue and rose. A similar architectural setting, sup- 
plemented by a space intersected with green, rose and blue 
arabesques, appears in the two other pictures. The middle 
one shows a female saint bearing the palm of martyrdom, and 
the lower, a bishop with mitre and crozier. The borders are 
decorated with a repetition of linked scrolls embossed in gold 
thread. The dainty perfection of craftsmanship is in fitting 
harmony with the devotion that characterizes the spirit of this 


beautiful example. 
| Length, 52% inches; width, 12 inches 


103—MAGNIFICENT SPANISH BROCADE 


SEVENTEENTH Century. The design of this superb piece shows 
the influence of the Rhodian pottery, which in turn had derived 
its motives from the further East, notably from Persia. It con- 
sists of palmette-shaped brocaded medallions wrought in cloth of 
silver, reserved within rose-colored pile velvet, interrupted by a 
curving latticework of cloth of gold. The latter is edged with 
velvet pile of a grayish-turquoise hue, and carries the repeated 
pattern of a serrated leafin rose-colored velvet pile with cloth- 
of-gold center. The foliage and floral embellishments present 
conventionalizations of the carnation and tulip. The most con- 
spicuous grows out of a bulb of cloth of gold, from which radiate 
serrated tulip leaves of cloth of silver that are edged with gray- 
ish-turquoise velvet pile. Upon the leaves in high relief of rose- 
colored pile are disposed more naturalistic tulips and carnations, 
whose stems radiate from a blossom of six petals. The whole 
design in the changing aspects of its illumination is one of inde- 
scribably splendid refinement. 

Length, 68 inches ; width, 50 inches 


NO. 103. MAGNIFICENT SPANISH BROCADE, SEVENTEENTH CENTURY. 


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104—SPpLENDID ALTAR FRONTAL 


SPANISH. SEVENTEENTH CENTURY. The ground of pearly white 
silk is divided into a top border and main field by a band of un- 
usually interesting design. It resembles a jeweled chain, being 
composed of curiously fashioned links of alternately flattened and 
raised goldwork, enclosing spaces that glow like enamels with 
silver thread or green and white and rose silk. The border, thus 
separated, is decorated with scrolls wrought in yellow and 
green silk from which radiate lily and carnation leaves, inter- 
spersed with blossoms of the turk’s-head lily, carnations, 
anemones and columbine. ‘Their colors are tones of red, ruby, 
pomegranate red and pink salmon, while the leaves are a violet 
blue. 
The main design below consists of free flowing gold and 
silver spirals, with abundant foliations, that support a central 
vase and pendent baskets, filled with flowers and fruits beauti- 
fully rendered in silk. Inthe profusion of their variety are rep- 
resented apples, pears, plums, pomegranates and strawberries 
drooping from their stalks; sprays of roses with leaves and 
thorny stems; turk’s-heads and tulips, while amid the small 
flowers that sprinkle the interspaces may be detected primroses, 
campanulas, periwinkles and love-in-a-mist. Also, perched upon 
the foliage or hovering in the intervals, appear exquisitely 
wrought birds, butterflies and dragon flies. 

In the center of the design above a trophy of fone is the 
monogram of the Blessed Virgin, the interlaced ‘‘M. A.” Above 
it is a crown supporting a scroll with the following inscription, 
‘‘MEL IN ORE (IV) BILIS IN CORDE. R. T. Cc.” This in its present 
form is untranslatable, but if one ventures to correct the igno- 
rance or carelessness of the embroiderer and change the word 
IVBILUS into BILIS, it will read ‘‘ Honey in thy mouth, bitterness 
in thy heart,” and will correspond with the text in Revelation 
x, 9. In support of this suggestion is the fact that the monogram 
may be read also ‘‘A. M.,” the first two letters of ‘‘amara’’— 
bitter; and it is more than likely that allusion was intended both 
to the benediction of the divine Motherhood and also to the 
Mother of Sorrows. For this frontal, smaller in size than usual, 
was clearly for an altar to the Virgin. Intended for feast days, 
it combines in its white ground and abundance of blue flowers the 
colors prescribed in her honor. Moreover, another slight sup- 
port to the above suggestion, the roses in this decoration, while 
symbols of her attributes as ‘‘ The Rose of Sharon,” have thorns 
upon their stalks: ‘‘ Yea, a sword shall pierce through thy own 


soul also,” Luke 11, 35. 
Length, 86 inches, width, 31 inches 


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105—BEaAuTIFUL OLD VENETIAN BORDER 

SEVENTEENTH CrenTuRY. The ground of this piece is wrought 
throughout in silver, relief work alternating with flat, and the 
stitches varied in character, so as to increase the effect of sumptu- 
ousness. It is crossed in the lower part by a scroll repeat of 
rococo wave-forms, here and there intersected diagonally by in- 
dependent scrolls, fringed with green leaves. Above this geo- 
metric design isa naturalistic arrangement of flowers and foliage. 
The latter is curled in form and of a pale green, while the hues 
of the flowers, disposed in bunches, are rose or blue, or a com- 
bination of both. Toward the left appears the lower half of a 
sunburst. Above this the panel is bordered with gold galloon, 
while along the bottom runs a fringe of silk, decorated at inter- 
vals with strings of circular and lozenge-shaped disks. The whole 
piece is distinguished by the patina of tone that envelops the 
faded splendor of its hues. 

Width, 138% inches, length, 12 feet 8% inches 


106—Suprers ALTAR FRONTAL 

SPANISH. SEVENTEENTH Century. In this frontal an exquisite 
refinement has governed alike the color scheme, the spacing of 
the design and the choice of details. The ground is of silk vel- 
vet that, according to the lighting, passes from brown to fawn 
color. It is traversed by a band of gimp and brown-silk fringe, 
which separates the top border from the field, while the latter 
is bordered at the sides and divided by two stoles into a main 
panel and two subsidiary ones. Each of these carries a medal- 
lion, framed with a scroll ornament in high relief, wrought with 
gold thread so as to show an underlay of red silk. The ground 
thus enclosed is, in the case of the central medallion, of blue silk 
seen through a close web of gold stitching, whereas in the side 
ones the color that appears between the gold is green. These 
latter bear the monogram of the Virgin, an interlaced ‘‘M. A.” 
surmounted by a crown, both embossed in gold and silver 
threads, while the central space is occupied with the ‘‘I. H. S.” 
(the first three letters of the Greek word for Jesus), having a 
cross above and the three nails of the Passion below it. The 
letters of this monogram are composed of the conventionalized 
form of the lily’s calyx. 

The ground of these panels, not thus occupied by the medal- 
lions, is closely overlaid with delicate arabesques of gold and 
silver tendrils, interspersed with flowers, particularly with the 
rose and cornflower—‘‘the flower of the field.” At the top of 
the design these flowers are displayed as daintily issuing from 
vases. A corresponding profusion of stem-forms, leaves and 
blossoms decorates the stoles and borders. The whole, in fact, 
presents a maze of exquisitely wrought filigree, through which 
the essential dignity of the main design is subtly felt. 

Length, 96 inches; width, 48 inches 


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107—Surers ALTAR FRONrAL 
SPANISH. SEVENTEENTH CENTURY. This specimen is similar 
to the preceding one in material and design and detail, except 
that the ground of the medallions is a creamy silk, while the 
“TI. H. S.” in the central one is composed of simple Roman 
letters. With this slight variation, it is a sister piece to the 
other, vying with it in superb delicacy and chaste splendor. 


Length, 98 inches; width, 41 inches 


108—Sumpruous ALTAR FRONTAL 


SPANISH. SEVENTEENTH Century. The ground is of solid 
needlework, wrought in silver into a diaper pattern, and upon 
this is imposed a series of sumptuous arabesques, executed in 
gold in relief and adorned with flowers in silk of various hues of 
subdued splendor. 

In the center, extending from the bottom to the top, is the 
superb design of a richly ornamented vase from which springs 
a bunch of three flowers and foliage, culminating aloft in the 
massy, drooping blossoms, golden brown, of the turk’s-head lily. 
From the foot of this design, on each side, commences a bold 
scroll of highly raised gold thread, which meets a reversed 
scroll, the volutes of the two supporting a basket of gold fili- 
gree, bearing tulips and leaves of silk thread. This design is 
repeated on each side, the intervening space being occupied 
by a hanging trophy of tulips and foliage. The scrollwork 
throughout is embellished with conventional foliations of tulip 
and acanthus. Above the side portions of the decoration runs 
a strap ornament of raised gold that divides off a border. on 
each side of the turk’s-head. The whole is finished with an 
edging of gold galloon. In each of the lower corners is a 
cartouche surmounted by acrown and emblazoned with armorial 
bearings, among which appear a crescent and two lions rampant. 

The colors chosen for the silk details incline to mixed 
hues, such as old rose, slaty violet, yellow green and golden 
buff, which, in conjunction with the slightly oxidized silver of 
the.groundwork and the dullish luster of the gold relief, give 
the whole an atmosphere of subdued magnificence. 


Length, 9 feet; width, 39% inches 


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109—BEAUTIFUL ALTAR FRONTAL 


SPANISH. SEVENTEENTH Century. ‘This frontal, of compara- 
tively small size, was evidently used in a chapel of Our Lady. 
Being for use on feast days, the ground is white, of rich gros- 
grain silk, and there is a predominance of blue in the floral 
decorations, though it is tenderly enlivened with hues of rose 
and yellow and with the rich incrustation of goldwork in relief. 
The latter is particularly noticeable for the variety of stitches 
employed in the foliations, so that their surfaces present a con- 
stantly differing quality of texture and illumination. It is also 
to be noticed that while the field is marked off on three sides 
by a band of gold galloon, this division has not governed the 
design, which spreads freely over the whole of the frontal. 
Very graceful in their flowing curves are the main stems of 
the decorative composition, lily or tulip stems, slim and firm. 
From them radiate leaves, somewhat conventionalized, while 
flowers are profusely scattered over the whole, including, 
besides the two already named, carnations and convolvulus or 
morning - glories. In the center of the design is a fountain 
springing from three superimposed shells, supported at the 
foot by a Nereid and a Triton blowing on a conch, the whole 
enclosed by a balustrade overhung with trees. It illustrates 


that attribute of the Virgin, drawn from Canticles, or Song of 9 
Solomon, iv, 12, 15: ‘‘A garden enclosed is my sister, my e 
spouse . . . a fountain of gardens.”’ . 


The frontal is bordered along the top and halfway down 
the sides with gold galloon, the remainder being embellished 
with gold-thread fringe, cut in scallops. 

Length, 85 inches; width, 41 inches 


110—GrRAND ALTAR FRONTAL 


SPANISH, SIXTEENTH Century. The ground is silk velvet, of 
a shade of green resembling a chrysoprase. The main feature 
of its embellishment is the monogram, ‘‘I. H. S.,” enclosed in 
a frame of Flemish design, consisting of square-edged scrollwork 
that is executed in yellow silk appliqué. The latter, shaded 
with tawny-brown and pale-green pigment, is edged with red- 
silk cord and a rim of gold cord, and is further decorated with 
small details in silver bullion. Within the frame the monogram 
is embroidered in yellow and red silk and gold thread, a cross 
in silver surmounting it, while below it appear, also in silver, 
the three nails of the Passion. 


6 


*KUNLNAD HLINAALXIS ‘HSINVdS ‘TVLNOUA UVLTV AGNVUO 


“OIT “ON 


To right and left of this central mass, the field is occupied 
by a handsome interlace of scrolls with conventionalized leaves 
and flowers of the tulip. 

The border, extending across the top, is composed of linked 
scrolls similarly decorated, which intercept five medallons, cor- 
responding in design and treatment, though in a reduced scale, 
to the central feature, above described. The same monogram, 
cross and nails are also included in three of these, while the two 
others, which alternate with them, contain the Virgin’s mono- 
ora. Ve ke 4 

Length, 12 feet 7 inches; width, 39 znches | 


111—MAaGNIFICENT GOTHIC COPE 


SPANISH. SEVENTEENTH CENTURY. As subtle as it is sump- 
tuous are the quality and color of this cope. The ground is of 
fifteenth-century Genoese velvet, woven with triple pile on a 
warp of linen, the color varying, according to the light, from 
a cool plum to a silvery cream. The profuse embellishments 
have a ground of cloth of gold, with details brocaded in a gold 
loop stitch, that not only lends variety but extreme richness, 
while other details are in yet higher relief, formed of the highest 
pile of the velvet. There are two series of main ornaments, 
which, though different, are based upon the same motive of the 
lily, represented with something of the crudeness and much 
of the excessive ingenuity of Gothic design. These forms are 
enclosed in a space ‘that resembles a palmette with elongated 
tips, being, in fact, a free adaptation of the fleur-de-lis form. 
This space, in the upper series, encloses a pair of patterns which, 
if studied, are seen to grow out of a stalk of the lily, expanding 
into more familiar fleur-de-lis and terminating in serrated lily 
leaves. Above this pair of forms are two conventional roses, 
the combination of these with the lily recalling the verse in Can- 
ticles, ‘‘I am the rose of Sharon and the lily of the valleys.” In 
the lower series the form commences with the lily stalk, but 
passes on into a still more conventionalized pattern than in the 
preceding one. Interspersed between these main designs are 
numerous conventionalizations of the lily and the rose. 

The orphreys—six in number—are admirable specimens of 
needle painting in gold and old rose, dark blue and pale and 
dark green silk. The pictures involve architectural details of 
Gothic design, with a canopy beneath which are figures of saints 
bearing symbols. 


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Among them may be noticed St. Bartholomew having the 
knife with which he was flayed alive; St. James the Less with 
the club that was the instrument of his martyrdom; St. Thomas 
with the carpenter’s rule, in allusion to the legend that he 
was sent to the king of the Indies to build hima palace. The 
hood represents the ‘‘ Annunciation,’ the Virgin robed in rose 
and blue, kneeling at a prayer desk, with the dove hovering 
above her, and the angel kneeling as he holds a scroll. Be- 
tween the figures are three lilies and two buds growing upon 
tall stems that issue from a vase. ‘The floor on which the latter. 
stands is curiously covered with feathers. in rows, worked in 
gold thread and old rose and white silk. 


Length, 9 feet 9 inches; wzdth, 56 feet 


112—MaGnNIFICENT GOTHIC COPE 


SPANISH. SEVENTEENTH CEeNnTuRY. The fabric of this sumptuous 
cope is of fifteenth-century Venetian velvet of a rich rose color, 
woven in triple pile upon a linen warp. A design cut down to 
the second pile decorates those spaces that are not occupied by 
the elaborate ornaments in cloth of gold. The latter consists of 
a repetition in rows of two motives, which are cut down to the 
third pile and filled with a ground of cloth of gold, upon which 
the details are brocaded in gold with a raised loop-stitch, while 
certain ones are rendered in further relief by the highest pile of 
the velvet. The motives involve two conventionalizations of the 
lily, elaborated into an imposing mass whose contour resembles 
the palmette form. The design in the upper row, which is 
repeated in the bottom one, grows out of a bulb into a highly 
conventionalized fleur-de-lis, from which radiate serrated lily 
leaves and nine stamens. The embellishment of the middle 
row, which in its contour suggests an elongated palmette, or 
perhaps a play upon the fleur-de-lis, is sprinkled with conven- 
tionalized pomegranates, roses and carnations. The whole 
composition forms a decoration of extraordinary magnificence. 

The orphreys, eight in number, contain circular medallions 
of various saints, executed in needle painting, upon a back- 
ground of gold thread and silk. The hood, a very skillfully 
executed specimen, in an excellent state of preservation, bears 
a picture of the Annunciation. Under a canopy of curtains, the 
Virgin is represented kneeling before a desk, on which her left 
hand is laid, while the other rests upon her breast. 


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Her robe, which is of a curious old dark blue, is wrought 
in a loop stitch, which gives an added richness to the surface. 
A similar treatment appears in the old-rose and pink draperies _ 
of the angel, who with green and yellow wings stands on the 
left, holding a lily. ; . 

Length, 10 feet; width, 56 inches 


113—Sumptuous GoruHic Cope 


SPANISH. SEVENTEENTH Century. The fabric of this sumptu- 

_ ous cope is of fifteenth-century Venetian velvet, of a rich rose 
color, woven in triple pile upon a linen warp. A design cut 
down to the second pile decorates those spaces that are not 
occupied by the elaborate ornaments in cloth of gold. The 
latter consist of a repetition in rows of two motives, which are 
cut down to the third pile and filled with a ground of cloth of 
gold, upon which the details are brocaded in gold with a raised 
loop stitch, while certain ones are rendered in further relief by 
the highest pile of the velvet. The motives involve two con- 
ventionalizations of the lily, elaborated into an imposing mass 
whose contour resembles the palmette form. The design in the 
upper row, which is repeated in the bottom one, grows out of | 
a bulb into a highly conventionalized fleur-de-lis, from which 
radiate serrated lily leaves and nine stamens. The embellish- 
ment of the middle row, which in its contour suggests an 
elongated palmette, or perhaps a play upon the fleur-de-lis, is 
sprinkled with conventionalized pomegranates, roses and carna- 
tions. The whole composition forms a decoration of extraordinary 
magnificence. 

The hood and orphreys are remarkably fine examples of 
needle-painted medallions, set in a ground of gold. The design 
of the hood represents the Madonna enthroned with the Child 
on her knees. The orphreys—eight in number—include the 
following subjects, in order from the left—a bishop with 
crozier; a female saint with palm branch; an old man bearing 
a book; another with a cross and orb; Madonna and Child; a 
saint with scimitar or knife, probably St. Bartholomew; and St. 
John bearing a cup from which a winged serpent issues, in 
memory of the legend that he once drank with impunity from a 
poisoned chalice, after making the sign of the cross over it. 


Length, 9 feet 10 inches ; width, 54 inches 


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114—-SpPLENDID EMBROIDERED ALTAR FRONTAL 


SPANISH. EARLY EIGHTEENTH CENTURY. ‘The crimson surface 
of fine old Venetian velvet displays a top border, two lateral 
borders and the main field, all of which are embellished with — 
medallions in needle painting, set in the midst of a sumptuous 
design of scrollwork. The climax of the whole scheme is a 
large circular picture of the Annunciation, which occupies the i: 
center of the main field. It is enclosed in an elaborate frame of — 
‘scrollwork of appliqué silk in two colors, white shaded with blue 
pigment and café-au-lait shaded with green. On each side of 
this main design the space is occupied with a bold design of 
~ acanthus scrolls, distinguished by the free flow of their curves 
and the choiceness of the foliage details. The interspaces of 
velvet are further enriched by numberless tendrils and trail- 
ing vines of gold or silver cord studded with sequin-like circles 
of coiled silver. A similar decoration on a smaller scale occu- 
pies the top and side borders. 7 
In the picture the Virgin is seen kneeling beside a green 
and gold desk on which lies an open book, while near her is a 
vase containing three lilies. Her raiment consists of a blue 
robe, edged with silver bullion, and a pale-pink dress shot with 
gold and sewn with quatrefoils, while around her neck hang 
chains. Behind her is a canopy of delicate rose, interwoven with a 
gold, and hovering near it is the Dove in a golden glory. 
Around a column below it appears to be coiled a snake, in allu- 
sion to the Fall. The angel is represented in thé act of sinking 
to his knees, his yellow and green mantle still floating in the 
agitation of movement. His right arm is extended, the finger 
pointing at Mary, as he utters the salutation that is inscribed 
on the border around the picture. This with some omission of 
letters and certain lapses from the Latin to the Spanish form of 


T 
words is as follows: Av(E)MARIA GRA IA PLENA. D(0)MINUS 


FRUCTUS 
FRUTOS 


VENTRIS TUL 1(H)Esus—‘‘ Hail Mary, Full of Grace, the Lord 


TECUM, BENEDI(C)TA TU IN MULIERIBU(S) BENEDI(C)TUS 


be with Thee, Blessed art Thou among Women, Blessed is the 
Fruit of Thy Womb, Jesus.” 

In the central medallion of the top border is a representa- 
tion of the Risen Lord, with the red cross pennon of victory over 
death floating from the cruciform staff. 


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The background is of gold, on parts of which trees and 
rocks are painted. In the medallion to the left His attribute as 
The Good Shepherd is illustrated in a figure, pointing to a lamb 
that it carries, while in the pendant design a figure with a cup 
and a hand raised in benediction suggests the mystery of the 
Eucharist. The keepers of the mystery are represented in the 
end medallions, St. Peter on the left with the key of Heaven 
and Hell, and on the right St. Paul with the Sword of the 
Word. Another figure with sword and book appears in the 
oval on the right-hand side border, while the corresponding 
space opposite contains a figure with a chalice and palm branch. 

It is noticeable what an envelope of beauty has resulted 
from the oxidation of the silver in the innumerable tendrils 
and disks. They create a sort of veil of atmosphere, through 
which the splendor of the rest is seen with a softened radiance. 


Len eth, 8 feet 6 inches, width, 42 inches 


115—Gorcerous ALTAR FRONTAL 


SPANISH. EARLY EIGHTEENTH CENTURY. Upon a ground of 
ruby-colored Genoese velvet of double pile, the surface of which 
is mottled by the removal in spots of the highest pile, is a 
superb design of arabesques. Across the top runs a broad band, 
separated from the main field by a strip of silver galloon. It 
contains a running ornament of wavelike spirals, linked in 
pairs. Wrought in a honeycomb stitch, they are in very high 
relief upon a flat dull ground of gold thread and are enriched 
with tendrils of blue and silver. 

The main feature of the lower decoration is a repeated 
figure composed of two volutes, executed in boldly raised silver- 
work and terminating in calices, worked in gros silk of a rich 
golden yellow. Radiating from these are foliations also of 
gros silk of a warm green, while above are conventionalized lily 
petals wrought-in similar material, but of a delicate blue, 
studded with silk knots that resemble pearls. The whole is sur- 
mounted by a fleur-de-lis in embossed silver. Intercepting this 
predominant figure is a smaller one repeated, in which a con- 
ventionalized lily stem and leaves, heavily embossed in silver, 
are displayed upon a gold ground that itself is of leaf form and 
tipped with spirals. The latter are of silver, while the ground 
is partly stitched with flat gold and partly brocaded with raised 
gold in loop stitch. 


AUNLINAD HLNAALNAATS “IVLNOUA UVLTIV NVILANGTA 


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The forms throughout are enclosed with rims of silver cord, 
and the interspaces are embellished with abundance of smaller 
scrollwork and leafage. . 

It is this notable profusion of silver filigree work, oxidigem ba 
by time, and the allied hue of the blue parts that give particu- 
larly delicate distinction to this panel, since they predominate 
over the warm hues of green, golden yellow and ruby. More- 
over, a careful scrutiny will reveal how the subtlety of the color 
scheme is increased by the diversities of stitchwork and by the 
variety in the planes of ornament, the result being an enka 
of extraordinary persuasiveness. “~ 


Length, O° 7 eers2 inches; wrath, 88 inches 


116—VENETIAN EMBROIDERED ALTAR FRONTAL 


SEVENTEENTH Century. The ground of this superb piece is 
composed throughout of a repetition of angular wave forms 
wrought in silver thread. Over it is a sumptuous arabesque, | 
formed of yellowish-green silk scrollwork, out of which grow 
acanthus foliations, embroidered in gold and raised, so that 
they are enriched by the diversity of reflected lights. In deli- 
cate contrast to, and yet in complete harmony with this under- 
lay of magnificence, are the frequent flower forms with which 
the whole is sprinkled. These are of silk, involving hues of 
rose, white, blue, yellow and green, very pure in tone and 
blended wan an exquisite refinement. 

The frontal is surrounded on the two sides and top by a 
narrow border composed of tulips, carnations and roses, and 
across the top of the space thus enclosed a broad panel extends. 
In its center is the ecclesiastical convention of the lotus, adapted 
in its form to the Greek decorative device of the palmette or 
anthemium, while below the panel is suspended like a fringe 
a succession of bell-shaped blossoms. The flowers that pre- 
dominate on the main field of the decoration are yellow and rose 
and rose and white tulips, pink and white carnations and a blue 
iris. They are wrought with a skill that emulates the beauty of 
the real flowers, yet with an artistic instinct that preserves the 
conventional suggestion ofthe whole decoration. 


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117—ITALIAN EMBROIDERED ALTAR FRONTAL ‘. 


SEVENTEENTH CeNnTURY. Upon a foundation of rose-colored 
Genoese velvet is a very bold design of scrollwork, leaves and "4 
flowers, surmounted by a broad border with two medallions. 
The main stems of the arabesque are embroidered in green silk, 
while the foliage and flowers are wrought in silver and gold 
thread, enriched in parts with bullion. A little blue appears in 
the flowers. It is noticeable that the ornament of the lower ~ 
portion of the frontal is not centered. The medallions, enclosed 
in a rim of silver bullion, contain pictures executed in petit 
point and needle painting. The subject of each is St. John; | 
commemorative in the one case of his Gospel and in the other 
of his Revelation. In the left design he is represented seated, 
gazing up at a vision of Madonna, below which rests his emblem, ~ 
the eagle. In the other he appears amid a scene of cliffs and 
water, ‘‘the isle that is called Patmos,” kneeling, as he listens 
in devout attention, to an angel floating in the sky. 


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118—GRAND SPANISH ALTAR FRONTAL 


SEVENTEENTH Century. This splendid example of Spanish ec- 
clesiastical art is wrought upon Genoese velvet in gold and 

silver thread and bullion, sewn with garnets; the faces being 

painted on silk insets, subsequently worked over with stitches 

in the process known as needle painting. A broad panel extends 

across the entire top, and panels of similar breadth enclose the 

sides. These and the main field are embellished with emblems, 
under which appear scrolls bearing the initial letters of the 

words from the Latin Bible that they illustrate. 

The culminating feature of the whole, which from top to 
bottom occupies the center of the composition, is the glorifica- 
tion of the Virgin. Above is the figure of God the Father, 
crowned with the triune nimbus. The letters on the scroll 
beneath him are, ‘‘T. P. E. A.M. E.M.N.E.I.T.” They are the 
initials of words from Canticles, or the Song of Solomon iv, verse 
7: inthe Latin, ‘‘Zota Pulchra Es Amica Mea Et Macula Non Est In 
/e”; in the English version, ‘‘ Thou art all fair, my love, there 
is no spot in thee.” Below appears the Holy Spirit under the 
symbol of a dove, beneath which is the Virgin with the Christ 
in her arms, and at the bottom the. monstrance in which the 
sacred elements are exhibited to the faithful. 


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NO. 118. GRAND SPANISH ALTAR 


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RARITAS 4S 


‘TRONTAL, SEVENTEENTH CENTURY. 


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The Virgin, bearing a lily, the emblem of purity, is rep- 
resented according to the artistic formula prescribed by the 
Spanish Church as an interpretation of Revelation xii, 1: ‘‘And 
there appeared a great wonder in heaven; a woman clothed 
with the sun, and the moon under her feet, and upon her head 
a crown of twelve stars.” The splendor of the sun radiates 
behind her figure, her feet are on the moon, and eleven stars 
encircle her. ‘The twelfth, detached from her, hangs from a 
bough a little to the right. It is, as the letters indicate, S/e//a 
Matutina, the Morning Star. 

Grouped about the Virgin are the emblems of her virtue, 
drawn from the praise of Wisdom in Ecclesiasticus xxiv: ‘‘l 
was exalted like a cedar in Libanus, and as a cypress tree upon 
the mountains of Hermon. I was exalted like a palm tree in 
Engaddi, and as a rose plant in Jericho, as a fair olive tree in a 
pleasant field, and grew up as a plane tree by the water.” Also 
Canticles ii has supplied two: ‘‘I am the lily of the valleys and 
the flower of the field.” Upon the left is the rose (‘‘Q. P. R.” 
Quast Plantatio Rose), and beneath it the lily of the valleys 
(SL. C.” Lilium Convallium); and to the left the olive (‘‘Q. O.” 
Quasi Oliva) and the cedar (‘‘Q. C.” Quast Cedrus). Corre- 
sponding with these, on the Virgin’s right, are the plane tree 
(eer. Ovasi Platanus); the flower of the field (“ F.C.” Flos 
Campi); the cypress (‘‘Q. C.” Quast Cypressus), and the palm 
(80: P.” Quast Palma). 

Beyond this grouping of emblems are others that symbolize 
still further the beauty of Wisdom. Thus, upon the left appears 
a door surrounded with glory. It is the door of heaven to 
which Wisdom leads, Porta Cali (‘‘ P. C.”). Below it is another, 
closed to those who forsake Wisdom, Porta Clausa (‘'P. C.’’). 
Above it to the left is Jerusalem, Czvztas Det, the City of God, 
while down below are a walled garden (‘‘a garden enclosed is 
my sister,” Canticles iv, 12), and a fountain (“‘F.S.”), ous Sapz- 
entie, the Fountain of Wisdom. On the opposite side of the 
composition, corresponding to the ‘‘ Fountain of Gardens,” is 
the ‘‘Well of Living Waters” (‘‘P. A.”), Puteus Aquarum. 
Above it are the Holy Tabernacle, in which Wisdom serves (Eccle- 
siasticus xxiv, 10), and the Scala Cel (‘‘S. C.”), Ladder of 
Heaven, on the steps of which is inscribed what is believed to 
have been a motto of the Order of St. Francis. The inscription 
on the top step, ‘‘ Hac fuit T(2b7),” is apparently incomplete, 
but the following words are clear: ‘‘ Perseverantia,” ‘‘ Caritas,” 
“« Puritas,” ‘‘ Humtilitas.” 


To the right is represented a tower (‘‘T. D.”), Zurrts 
Davia, for ‘‘thy neck is like the tower of David, builded for 
an armory” (Canticles iv, 4). In the lower corner appears the 
Dragon of the Apocalypse. ‘‘ And there appeared another 
wonder in heaven; and behold a great red dragon, having 
seven heads—and the serpent cast out of his mouth water as a 
flood after the woman, that he might cause her to be carried 
away of the flood” (Revelation xii). The letters ‘‘I. C. C. T.” 
recall the saying in Genesis iii, 15:. ‘‘Ipsa Conteret Caput 
Tuum,” ‘‘It shall bruise thy head.” ae 

To return to the border: on the right of the Holy Father is 
the moon (‘‘P. V. L.”’), Pulchra Ut Luna, and on the left the sun’ 
(““E.V.S.”), Blecta Ut Sol, suggested by Canticles vi, 10: ‘‘ Who - 
is she that looketh forth as the morning, fair as the moon, clear 
as the sun?”’ In the corners are Seraphim (‘‘D.V.”), representing 
the description of Isaiah vi, 2: ‘‘Each one had six wings; with 
twain he covered (Duabus Velabat) his face, with twain he cov- 
ered his feet, and with twain he did fly.” In the center of the 
left-side border appears the Ark of the Covenant (SPT eas 
Zu Et Arca (‘ Arise, O Lord God, into thy resting place, Thou 
and the Ark of Thy Strength’—II Chronicles vi, 41). The pen- 
dant to this on the opposite side is a ship with the Cross of St. 
George on her ensign, and the inscription ‘‘D. L. P.,” De Longe 
Portans, taken from the praise of a virtuous woman in Proverbs 
xxxi, 14: ‘‘She is like the merchants’ ships; she bringeth her 
food from afar.” 


119—Beautirut Inpo-Porrucugse CoverLet 
SEVENTEENTH CENTURY. The ground is of rich silk velvet that - 
when it is draped passes from a delicate gray in the high lights 
to a deep, dull blue in the shadows. The design consists of a 
large central medallion, quarter circles in the corners, anda 
broad border; but in addition to these main features the whole 
piece is embellished with scrollwork and foliations, wrought in 
gold thread in high relief, while the forms are stitched in silk. 
The medallion, enclosed within three concentric bands of deco- 
ration, gold-embossed, with a variety of stitching, contains amid 


a profusion of embroidered volutes a bird of paradise. The 
atter, showing the influence of Chinese art, is a superb ex- 
of raised needlework executed in gold, with a fringe of 


round the edges of the tail feathers, and with the eyes at 
rrenities worked in blue, yellow and white silk. 


The corner embellishments are similarly composed of three 
concentric quadrant bands of ornament, enclosing a decorated 
space, on which are displayed two admirably wrought fighting- 
cocks. Itis noticeable that all the gold parts are edged with 
white silk, which charmingly subdues their luster to the coolness 
of the blue ground. 

The border corresponds with the rest in lavishness, consist- 
ing of birds of paradise, intercepted by slim volutes from which 
emerge embossed foliations, variously stitched in gold, and fre- 
quent flowers in silk. These, as elsewhere throughout the 
design, are wrought in hues of cream and dull salmon. The 
whole is enclosed by a greenish-gold fringe. 


Length, 10 feet; width, 7 feet 4 inches 


120—BeauTiruL INDo-PorRTUGUESE COVERLET 


SEVENTEENTH CENTURY. The embellishment, conventionalized 
in a truly Chinese spirit, is spread over a superb surface of silk 
velvet, in hue a curious old red, verging on terra cotta. The 
border sets the key for the scrollwork, foliations and flowers. 
The forms are enclosed in a rim of white silk and filled in with 
diversified stitches of gold thread, while the flowers represent 
a conventionalization of the lotus blossom. It appears in its 
simplest form as a circle surrounded by four other circles which 
elsewhere are increased in number to five and six. Compare 
the specimen No. 24, where this motive is much further elabo- 
rated, and clearly recalls the Buddhistic convention of the lotus, 
as the symbol of endless cycles of existence. 

Within the border at each of the four corners is a crane with 
fan-shaped tail,crest and extended wings, from each of which latter 
project three long, spiky feathers. The conventionalization that 
characterizes them is carried still further in the central feature 
of the composition, where, treated heraldically beneath a coronet, 
is a double-headed crane with five spiked feathers on each wing. 
It is enclosed in a circular stitching of white silk and, like the 
other birds, is sumptuously wrought in gold. ‘The whole design 
is surrounded bya fringe of pale old-rose silk with tassels at the 


corners. 
Length, 9 feet 5 inches; width. 7 feet 2 inches 


121—BeavutiruL Inpo-PorRTUGUESE COVERLET 


SEVENTEENTH CentTury. -Silk velvet of peacock-green hue is _ 
the foundation of this superb design, which is wrought in gold 
thread in high relief, the forms, as in the other coverlets of this 
series, being edged with white silk, a technical device that 
invests the color schemes with extraordinary distinction. The 
characteristic detail of this design is a triple radiation of stout 
stem forms and leaves that suggest a conventionalization of the 
tulip or carnation. In the border they issue from a gold vase 
_and are flanked by foliated and floral scrolls, on which birds are 
perched that peck at hanging cherries, a motive which is 
repeated round the border’s entire surface. Inside the corners, 
enclosed in a quadrant band of ornament, the same scroll again 
occurs, though with slight variation, while the birds are full- 
sized partridges with extended wings. It is again repeated in 
the large central medallion, where amid the foliations appears a 
splendid bird of paradise, above whose head, a little to the left, 
is a sunburst. 
The whole is edged with gold braid and green silk fringe. 


Length, 9 feet, wath, 7% feet 


122—GorcEous INDO-PORTUGUESE COVERLET 


SEVENTEENTH Century. ‘This sumptuous design upon a ground 
of ruby silk velvet represents a glorification of the Buddhistic 
convention of the lotus. The central feature is a large cluster 
of circular petals arranged concentrically around a center circle. 
Immediately from the latter grow four petals which are encircled 
by eight larger ones, and again by eight still larger, which bear 
at the tangents of their outer rims eight small ones. The 
scrollwork, which from this center flows over the whole field, is 
distinguished by the free sweep of its curves and by the richness 
of its leaf-forms, while sprinkled profusely over it are the flowers, 
varying in size, that play upon the petal motive of the central 
one. Some present multiples of four, others of five, while in 
certain cases the petals are indented like a clover leaf. The 
flowers, in fact, are eloquent of Oriental feeling, for in this con- 
vention of the lotus, as a multiplication of circles, is symbolized 
the Buddhistic doctrine of the endless cycles of existence. 
Compare the simplified use of this motive in specimen No. 20. 


Length, 9 feet 2 inches; width, 7 feet 7 inches 


GERMAN NEEDLEWORK PANEL, SIXTEENTH CENTURY. 


123. 


NO. 


NO. 124. GERMAN NEEDLEWORK PANELS 


123—GERMAN NEEDLEWORK PANEL 


SIXTEENTH CENTURY. SOLOMON AND THE QUEEN OF SHEBA. 
This tapestry commemorates the twofold subject of the Queen 
of Sheba’s visit to Solomon and also the king’s service to his 
people in building a temple to the Lord. The latter is sug- 
gested on the right of the composition, where the monarch, 
having laid aside his own crown, is worshiping the King of 
kings before an altar, on which rests a censer, held by a white- 
robed priest. In the left of the picture he is seen seated on a 
throne, the curtain of which is being drawn back by a page. 
Wearing a blue damask tunic, a rose under-robe of similarly 
sumptuous fabric and a cap of Persian design, surrounded by a 
crown, the king leans forward with hand extended toward the 
queen, who is being ushered into his presence by an old, 
bearded courtier. She advances with hands outstretched and 
eyes fixed upon the king, dressed, as are her attendant ladies, 
in the costume of the sixteenth century. Hers consists of a 
long red mantle over a gown of pale yellow and green, from 
the waist of which hangs a sash of knotted silk. A toy grey- 
hound walks beside her. 

Behind the queen stands a lady-in-waiting, carrying a 
parrot on her wrist. She is a step in advance of the three 
others, who are ranged in a line. They wear high Medici 
collars, except one, who is distinguished by a guimpe that fits 
tightly round her throat and is tucked into a stiff bodice. To 
their right, also in the second plane of the group, stand a 
warrior and a young man, the latter wearing a Phrygian cap 
that, like the king’s head-dress, gives an Oriental touch to the 
picture. Among the flowers that are sprinkled over the fore- 
ground appears a foxglove. Very exquisite in tone are the 
faded hues of blue, yellow, green, rose and gray that compose 
the color scheme, while additional delicacy, as of atmospheric 
effect, is produced by the actual texture of the needlework. 

fleight, 1 foot 11 enches,; width, 4 feet 11 inches 


124—GERMAN NEEDLEWORK. Perit Point 


SIXTEENTH CenTuRY. THE Story or Tozit anp Tosias. The 
seven panels into which this composition is divided by columns 


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SIXTEENTH CENTURY. - STORY OF TOBIT AND TOBIAS 


represent scenes in the lives of Tobit and Tobias, a story that 
was very popular in the sixteenth and seventeenth centuries, 
and was illustrated by artists as dissimilar as Raphael and Rem- 
brandt. 

Tobit, as narrated in the apocryphal book of his own 
words, was distinguished by his kindness toward his fellow- 
Israelites during their captivity in Nineveh. But he was 
stricken with blindness as the result apparently of cataract, 
though he himself attributed it to some sparrows in the wall 

: having ‘‘muted” their ordure in his eyes, so that ‘‘a whiteness 
came into them.” In his grief he prayed that he might die, 
and at the same moment in the city of Ecbatane a certain 
woman, Sara, the daughter of Raguel, Tobit’s cousin, was also 

praying for death. For she was in ill repute, since she had 
$3 been married to seven husbands, each of whom had died before 
a the marriage was consummated. They had been killed by the 
; evil spirit, Asmodeus, but it was supposed that she had strangled 
them. And God heard both these prayers. Tobit, expecting to 
die, bethought him of a loan that he had made to one Gabael, 
and determined that his son, Tobias, should collect it, bidding 
him take some man as a companion on the journey. Tobias 
meets Raphael and, not knowing him to be an angel, engages 
his services. The first picture shows Tobit in his affliction 
giving final instructions to Tobias, as the latter, accompanied 
by his faithful dog, is about to set forth with the angel. 

In the second is represented the first episode of the jour- 
ney. Tobias has caught a fish which comes near to killing him. 
But Raphael assists the young man and bids him cut from the 
fish its heart and liver and gall for purposes to be unfolded 
presently. The dog is running in high spirits. 

In the third panel there is a double picture. Tobias has 
been guided by Raphael to the home of Raguel, who recognizes 
him by his resemblance to Tobit, and determines to marry him 
to Sara. The angel stands between the two scenes, approving 
of the one and pointing to the other. 

The fourth or central panel represents the bridal night. 
By Raphael’s direction Tobias has sprinkled the heart and liver 
of the fish on the burning ashes of the fire, so that the fumes 


emitted may drive the evil spirit, Asmodeus, from the chamber. 
The angel has caught him and is checking his mischief by bind- 
ing him to a tree, while the dog watches the door against any — 
further intrusion. 

Then, when Raphael has collected the loan from Gabael and 
Tobias has received in dowry the half of his father-in-law’s pos- 
sessions, the start is made for home. 3 

The fifth scene shows the return. Tobit, in his eagerness 
to greet his son, has stumbled, but is caught in the arms of 
Tobias. The dog, after his long journey, makes straight for 

- the familiar drinking-trough. 

By the artist’s oversight Sara is represented in the foregoing 
scene, whereas she had been left a little way back along the 
road until Tobias had announced his marriage. So she appears 
in the sixth picture, with the dog racing back to show his affec- 
tion for her, or perhaps to bring her. Meanwhile, in the house 
Tobias is curing his father’s blindness. By the angel’s direction, 
he anoints the eyes with the gall of the fish, which sets up an 
irritation and causes Tobit to rub them, whereupon the scales 
peel off from them. 

Many years have passed and Tobit makes a feast for Tobias 
and his sons. Then he instructs Tobias to leave Nineveh, 
which will surely be destroyed according to the denunciations 
of the prophet Jonah, and to settle in Media. Finally, his life 
duly accomplished, the old man dies. These three scenes are 
collected into the final picture. Raphael is seen flying back to 
heaven, and the faithful dog rests satisfied with the share he has 
had in all these happenings. 

The several panels, though differing from one another in 
arrangement, are ingeniously united by the architectural details 
into a prolonged decoration of remarkably harmonious effect, 
due in a great measure to the changing combinations of the 
colors, mauve, rose, slaty blue, pinkish brown and russet green 
and yellow. 

Fletght, 10 inches; wath, 11 feet 


125—Taprrestry PoRTRAIT OF a Lapy 
Or Russian WORKMANSHIP, MADE IN 1770. The type of face, 
character of pose and fashion of costume, not to mention the 
color scheme, are such as are familiar in the portraits of the 
French artist Nattier. The hair, softly crimped and powdered, 
is dressed close to the head and surmounted by a little bow 
of sky-blue ribbon. The ears are adorned with circular ear- 


rings and a black lace ruffle encircles the neck and falls low 
over the bodice. 

The latter, square-cut over the bosom with a white lace 
stomacher that descends in a sharp angle below the waist, is of 
sky-blue silk, bordered with ribbon which is tufted and quilted 
into somewhat the shape of nasturtiums. Of the same blue 
silk are the over-sleeves, panniers and skirt, the latter two 
being embellished with broad bands of fated ribbon. The 
under-sleeves are of white lace, and below the arm and over 
the shoulders appear glimpses of a brown long-furred cloak. 
The lady, with somewhat affected gesture, carries a bunch of 
carnations in her left hand, while the right, extended down over 
the pannier, holdsafan. The background is a warm drab with 
a pale-yellow column to the right. 

The tapestry is signed in the right lower corner, ‘‘fait par 
Rondet Mt A Petersbourg, 1162.” The latter figure probably 
gr the registration number in the factory’s books. 

freight, 3 feet 6 inches ; width, 2 feet 10 inches 
(Lllustrated ) 


126—ITALIAN RENAISSANCE Tapestry. THE Nativity 
SIXTEENTH CENTURY. A simple dramatic unity characterizes 
the action of the figures and the expression of their faces and 
hands, though the focus point of interest, the Holy Child, is 
curiously placed at the bottom of the composition. Here it lies 
on a white cloth spread over a little cot filled with hay. To 
right and left of it kneels a child-angel in adoration, the former 
with his back tous. The plumage of their swallow-like wings 
is barred with green and yellow. On the right of this trio of 
figures kneels the Virgin, her left hand holding the cloth on 
which the Babe lies and her right hand laid upon her bosom. 
She is clad in a warm grayish-white robe, over which falls in 
handsome folds a blue mantle, sewn with a damasked design, 
somewhat resembling fleur-de-lis. Above the Child is the 
figure of Joseph, leaning forward on a crutch stick. He is 
bare-headed, with loose brown hair and beard, and his full- 
sleeved tunic is of creamy amber hue in the high lights, but 
crimson in the hollow of the folds. 

Behind the Virgin appears an ox, at the back of which 
stands a young shepherd with a spear, beside the brick shaft, 
ivy-covered, which supports the roof of the stable. In the near 
distance, on the right, is a glimpse of wooded landscape, where 
a couple of shepherds in crimson drapery stand listening to the 
strains of two angels that hover overhead, singing from a scroll. 


« THE: NATIVES 


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RENAISSANCE TAPE 


ITALIAN 


126, 


NO. 


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On the left of the main group the landscape spreads more 
spaciously. There are willow trees and water in the middle 
distance whence the ground rises to a knoll, covered with trees 
and high-gabled houses, while further back to the right the 
ground ascends to the walls and gates of Bethlehem. 

Floating among the trees on the left is a yellow ring that 
at first appears like a nimbus, but seems to be an accident 


of restoration. 
Height, 4 feet; width, 3 feet 2 inches 


127-—FLEMISH “APESTRY 


GOTHIC. SIXTEENTH CENTURY. A PIETA SURROUNDED BY FIGURES. 
This elaborate subject, woven in gold, silk and wool, represents 
the group at the foot of the Cross, where the body of Christ has 
been lowered into the arms of His mother, and is about to be 
prepared for burial by the holy women and the faithful Joseph 
of Arimathea. The figures are ranged with Gothic formality, 
those in the front plane being seen in full, while only the 
shoulders and heads appear in the second plane, and the third 
tier consists solely of heads. The colors are particularly beauti- 
ful in their harmony of faded splendor. 

The emaciated body of Christ, with the stigmata on the 
hands, feet and breast, is supported’ in the arms of the Virgin, 
whose robe is of crimson with gold damask, while a blue cloak, 
threaded with gold, falls from her waist and lies in rich folds 
upon the ground. To the right of her kneels Mary, the wife of 
Cleophas, who with one hand smooths her sister’s brow and 
with the other helps to support the Saviour’s body. She wears 
a mantle of beautiful old crimson over a blue robe that has a 
damasked design of darker blue and gold. Behind her, in a 
gown of delicately faded rose with rich tones of madder red in 
the folds, the whole interwoven with gold and studded round 
the sleeves and the border of the skirt with clusters of pearls 
and lapis lazuli, kneels the Magdalene, raising the lid from the 
pot of spikenard. On the left of the Virgin is another woman, 
whose costume consists of a red head-dress, with trailing veil of 
the same color, and a black robe decorated with gold arabesques, 
over which -hang from the shoulders, back and front, rose 
damask panels, that are caught together at the hip with a jewel. 


‘SdUAHdAHS AHL AO NOLLVUOGV 


“KULSAMVL AONVSSIVNAY JIHLOD NVWNYAO 


Behind her kneels, with bowed head and clasped hands, a 
gray-haired man whose reverent mien suggests that he is Joseph” 
of Arimathea. He is attended by a man ina blue tunic, with 
cuffs and lapels of old rose. In marked contrast with the 
dignity of these persons is the almost comic ugliness of a man 
in the second plane on the right, whose head is covered with a 
red turban. He holds three nails, and may represent one of 
the Pharisees gloating over the deathof Christ. Equally unsym- | 
pathetic, exhibiting curiosity or indifference, are several of the 
faces that peer forward from the back of the group. Beyond 
them is the blue sky, interrupted in the center by a section of ~ 
the Cross, while to the left and right are open spaces of land- 
scape, showing on one side a distant view of Jerusalem, and 
on the other a man, apparently in a boat. From the point 
where he is seen, a path ‘edged at intervals with stones winds 
toward the foreground, which, being Golgotha, ‘‘the place of a 
skull,” is strewn with fragments of bones. 7 

The border, enclosed within green bands, is composed of a 
scrollwork of leaves, roses and pansies, involving the hues of 
green, gold, crimson and pale violet. Outside the border is an 
edging of black. 


Height, 3 feet 4 inches, length, 6 feet 9 inches 


128—GERMAN TAPESTRY 

GoTHic RENAISSANCE. SIXTEENTH CENTURY. ADORATION OF 
THE SHEPHERDS, ‘The cartouches attached to the posts of the 
stable suggest that this tapestry was a votive gift to some 
church or convent by a donor whose identity would be preserved 
in the armorial bearings—three stars and an owl, standing on 
clouds, upon an azure field. In the center of the composition 
is the Holy Child, lying naked upon a part of the Virgin's 
mantle. This is of a grayish fabric, deep blue in the shadows, 
and falls from her shoulders in voluminous masses, the folds of 
which are characteristically Gothic in the intricacy and angu- 
larity of their arrangement. Clad as well in a robe of grayish- 
amber color, decorated with red arabesques, she kneels with 
hands upraised in prayer, looking down on her Child. Behind 
her hangs a crimson dossal, pieced together of rectangular 
parts, diapered in yellow. Balancing her figure is that of Joseph, 
who kneels upon the right of the Child, with hands folded upon 
the crutch of his staff. 


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He wears a tunic of pinkish gray that deepens to a bricky 
rose in the shadows, and an undergarment of yellow with blue 
cuffs. In front of him kneels a little fair-haired angel, with 
pointed blue and white wings, while behind the Infant stands 
another angel with coppery golden locks. At his back appear 
the heads of the ox and the ass, while beyond the open side of 
the stable stretches a vista of hill surmounted by a red-brick 
building. 

On the right of the main group, where a low door in the 
wall gives entrance to the stable, are standing two shepherds, 
one in red and yellow, leaning on his crook, the other in 
gray and blue tunic and red cap, lifting up his hands in prayer. 
Beyond them extends a landscape up to the walls of Bethlehem. 
On the left of the composition two other shepherds are seen 
among their sheep. They have heard the singing of an angel 
that floats above them with long trailing drapery, and the one 
ceases playing on his pipe, while his companion kneels, both rais- 
ing their hands in attitudes of rapt devotion. The meadow 
recedes towarda hilly country, dotted with buildings. In the left 
corner of the foreground is a little tree of roses, reminder of the 
‘*Rose of Sharon ”’ (Song of Solomon ii, 1), while in the opposite 
corner is another tree that may be an apple, suggested by an- 
other text in the same chapter: ‘‘ As the apple tree among the 
trees of the wood, so is my beloved among the sons.” Between 
these are growing narcissus, columbine and daisies. 

The border is formed of two Greek frets of two tones of pale 
yellow, the deeper one imposed upon the lighter, on a ground of 
crushed strawberry. Edged with a pale-greenish blue, it pro- 
vides a very choicely reserved frame to a composition that is dis- 
tinguished throughout by the gravity of its low-toned harmonies 


of color. 
Height, 3 feet 6 inches; width, 7% feet 


129—FLemMisy TAPESTRY 

SIXTEENTH CENTURY. THE MEETING OF ISAAC AND REBEccA. The 
episode here represented may be found described in Genesis 
xxiv. Abraham’s servant has returned from his mission to 
Mesopotamia to secure a wife for Isaac, bringing with him 
Rebecca and her maid. Isaac, as ‘‘he meditated in the fields,” 
has seen afar off the cavalcade of camels approaching and has 
come to meet it. 


NOveiecn PE LEMISH, SIXTEENTH-CENTURY TAPESTRY. ISAAC AND REBECCA. 


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Rebecca has ‘‘ lighted off the camel,” and is now seen ac- 
cepting Isaac’s salutation, while the servant, his mission safely 
accomplished, is holding up his hand with a gesture of bene- 
diction. In all the figures except that of the servant the 
Renaissance influence is clearly perceptible. Isaac is clad ina 
cuirass and the short, tight-fitting trousers and boots of a Roman 
soldier. Over this blue. suit is a brownish-amber drapery that 
falls from the left arm and across the back. He is standing 
with his back to us, turning his head toward Rebecca, as he 
grasps her hand. She wears a head-dress of red and yellow 
stuff, Oriental in suggestion, but the rest of her costume is 
rather classic in design, consisting of a pinkish-gray skirt, 
over which is a pale-yellow tunic, bordered with a conventional 
design. It is gathered in at the waist with a band that also 
holds in place a rich blue cloak. Her maid wears a clinging 
robe of pinkish-white color, her head being veiled with a yellow 
drapery that descends over her left shoulder and is held up by 
her hand. ‘The servant’s costume comprises an Oriental head- 
dress of folded linen and a crimson robe with a handsome 
damasked design in yellow, that suggests one of the sumptuous 
fabrics of the Flemish looms. 

Behind the group is a beautiful landscape, with glimpses 
of a river and a background of bold hills, whose slopes are 
intersected with rows of trees, while buildings crown their 
summits. A short distance back at the left appears a group of 
servants and camels, one of the latter, from which Rebecca has 
alighted, being still on its knees. The foreground is sprinkled 
with small plants and vines, closed in on the right by an ivy- 
clad tree trunk. The details of tawny green and yellow against 
the paler yellow of the grass, the drab in the middle distance 
and the deep blue of the trees on the hills, combine with the 
richer but still subdued hues of the principal group to form a 
color harmony that has been graciously mellowed by time. 

The border is formed of a delicate interlace of vines and 
flowers, pale yellow on a dull-red ground, with touches of white 
and blue in the rosettes, while surrounding it is an outer edge of 


old indigo blue. 
Height, 3 feet 8 inches; width, 5 feet 7 inches 


NO. 1380. GERMAN GOTHIC TAPESTRY. A KING ON HIS THRONE. 


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130—GERMAN TAPESTRY 


Earty Goruic Renaissance. A Kinc on His Turone. Can 
this be intended to represent the abdication of Charles V. in 
1556, when he handed over the imperial crown to his brother 
Ferdinand? The king is seated on a throne, clad in a loose blue 
robe, with a jeweled chain hanging round his neck. While he 
raises one hand, he extends the other to a man who stands 
before him with arm extended in salute. But for the helmet, 
which rests upon the ground, his figure is clad capf-a-pie in 
Greco-Roman armor—shoulder pieces, cuirass, short bluish- 
green undershirt and greaves, the metal being decorated with 
rudely hammered arabesques. He wears a:sword at his left 
thigh, and carries in his right hand a marte/l-de-fer, or horse- 
man’s hammer. Behind him stands a man-at-arms, dressed in 
crimson hose slashed on the thighs, a blue shirt and a double 
necklace of red beads, and a blue full-sleeved short doublet. At 
his back appear the head and chest of a man dressed in brown. 
Two other figures complete the group. Upon the balustrade of 
the throne, over which a crimson drapery hangs, leans a man in 
a flat flapping cap and high ruff, such as may be seen in Hol- 
bein’s portraits, while seated beside the king is a bald-headed 
man, clad apparently in ecclesiastical vestments, carrying upon 
his shoulder a jeweled sword. The canopy of the throne, com- 
posed of a Persian carpet, is suspended from two columns—a 
short one that surmounts the balustrade anda taller one that 
rises directly from the pavement. They are of porphyry, with 
rudely carved capitals and shafts that swell out into a bulb 
shape, where they join the bases. Byzantine influence is shown 
in their design, as also in the interlaced border of the king’s 
robe, while the Classic influence of the Renaissance appears in 
thearmor. The figures, however, in their character and natural- 
ness are thoroughly German. 

The border is broad and exceptionally fine, having a ground 
of bluish black, on which, in hues of green and blue and rose, is 
an elaborate pattern of leaves, tendrils and bunches of grapes, 
interspersed with floral arrangements of roses and pansies and 
daisies. It is interrupted at the bottom by a panel, flanked at 
each end by a circular medallion, decorated with a bird on a 
bough. Among the grapes in the top border occurs what seems 


to be a coiled snake. . 
Height, 5 feet 2 inches; width, 6 feet 1 inch 


131—FLEMISH TAPESTRY 


Earty SIXTEENTH Century. THe Crucirixion. While time 
has obliterated some of the details of this composition, it has 
mellowed the colors: “The singularly beautiful quality of the 
drab-gray flesh tones, the faded rose and yellow of the cos- 
tumes, with occasional flashes of crimson and an extraordinarily 
impressive deep blue not only in the armor and draperies, but 
also in the details of the landscape background, unite in a 


harmony as subtle as it is impressive. The composition for 


an instant recalls ‘‘ The Crucifixion” by Rubens, in the Antwerp 
Museum, for the episode depicted in each case is the piercing of 
Christ’s side, and here, as in the other picture, He is shown 
between the two thieves, the three bodies hanging high above 
a group of horsemen and people on foot. But this composition 
is loaded with more figures, and they rise one above the other 
with a formality of arrangement that shows the designer to 
have been still subject to the Gothic influence. 

On the left a horse is seen in back view and his rider has 
turned in the saddle to drive his spear into (as in Rubens’s pic- 
ture) the rzght side of the Saviour. Meanwhile the spear is 
also grasped by another mounted soldier who faces us. Balan- 
cing this group, appear on the opposite side of the central cross, 
two long-bearded horsemen, chief priests or Pharisees. Behind 
these groups are visible the heads of Roman soldiers, who carry 
forks and other instruments of torture on long sticks, which 
form a hedge between the bodies. ‘The latter are well drawn; 
the Saviour’s hanging in complete composure beneath the in- 
scription ‘‘I. N.R. I.” (/esus Nazarenus, Rex [udg@orum). The 
arms of the repentant thief are drawn over the top of his cross, 
though otherwise the attitude of his body expresses submis- 
sion, while that of the other malefactor is twisted in rebellion. 
Behind these impressive forms, which rise almost to the full 
height of the pictures, are glimpses of landscape; on the right, 
open country, with a bridge and large house, stretching to curi- 
ously steep hills; on the left, a pathway up a rocky incline to 
what probably represents Jerusalem. 

Across the foot of the composition extend a series of person- 
ages in the front and second planes. On the extreme left are 
two squat figures, the familiar boors of Flemish pictures, one 
of which carries a bucket of water and a sponge upon a spear. 


NO, 131. FLEMISH SIXTEENTH-CENTURY TAPESTRY. THE CRUCIFIXION. 


Near him kneels one of the Marys, clad in a white and blue robe 
and a rose-colored mantle that spreads over the ground in volu- 
minous folds. In the center of the foreground kneels the © 
Virgin, her hands extended down, her face raised in anguish. 
A blue mantle covers her head and shoulders and flows to the 
ground; her robe is of creamy rose, damasked with a fawn-— 
colored pattern. Behind her kneels the Magdalene, embracing 
the Cross, her fair hair descending below a dove-gray veil on to 
the creamy surface of her gown, a beautiful figure that once 
more recalls the Magdalene of Rubens. To the left of the 


. Virgin are two other women on their knees, in rose-colored 


costumes, directing their hands and eyes to the Cross, while 
behind them stands a man. He is taller than the boors but of 
rude shape, though the expression of his face is full of grief. 
He is probably Peter, for near him is the cock whose crow 
followed upon that apostle’s denial of his Master. | 


Fletght, 7 feet 10 inches, width, 5 feet 7 inches 


39°133—A Pair OF TAPESTRY GROTESQUES 


ITALIAN. SIXTEENTH CenTuRY. ‘These grotesques are said to 
have been made for the bed of Margaret of Parma, daughter of 
Charles V. She was first married in 1536, at the age of fourteen, 
to Alessandro de Medici, Duke of Florence, who was assassinated 
in the following year. Later she married Ottavio Farnese, Duke 
of Parma and Piacenza. From 1559 to 1567 she was Regent of 
the Netherlands on behalf of Philip II., who removed her because 
of the outbreak of the revolt of the Dutch provinces. 

These tapestries once belonged to the Spitzer Collection and 
later formed part of that of Baron Nathaniel de Rothschild. 
One of them is illustrated in Eugene Muntz’s ‘‘ La Tapisserie,” 
fifth edition, page 222. They are woven in silk and gold. Their 
borders are alike, consisting of a French-gray ground, shading 
off in parts to blue, on which is arranged a series of arabesques 
that include trophies of musical instruments, arms, ox skulls, 
and, at the top corners, swans. The main compositions also 
correspond in general design and color. 


“AUNLNAD HLINAALXIS ‘SANGSALOUD AULSAMVL AO Ylvd V dO YANO ‘CET “ON 


. 


In both, the field is a dull carnation on which is projected 
a fanciful structure of gold strapwork, in ingenious perspective, 
that encloses certain spaces of a pinkish butter color and shows 
open spaces of pale gray. They vary, however, in the design 
of the structure and the choice of details. | 

In the center of No. 132, under a light canopy, hangs a 
trophy of figs, pomegranates and grapes, in hues of pale yellow 
and green and dark blue. Oneach sideis a Hermes, surmounted 
by a woman’s head and bust. Her hands hold garlands, one of 
which drops to the bottom of the trophy, while the other rises 
to the upper framework, where a bird receives the ribbon in its 
beak. _Near it is fixed a flaming candle. From the bird the 
ribbon again drops, this time supporting a canopied chair, in 
which a figure is seated, from whose hand the ribbon descends in 
a loop to the bottom, where it is caught up in a series of loops, 
suspended by various devices, among them being a gamboling 
goat and sheep. ‘The right-hand figure is that of a girl, holding 
a cornstalk; the left, a man in Roman armor, holding, instead of 
arms, a bulrush. Presumably these two typify pa and pros- 
perity by a and sea. 

In No. 133, beneath a trelliswork entwined with vines and 
grapes, is suspended a sort of crate-basket, profusely filled with 
cherries, plums and pears, crowned with a bunch of pink and 
white carnations. It is flanked, as is the central feature of the 
other tapestry, by two seated figures. Costumed respectively as 
a shepherd and shepherdess, they gaze into the air with a sen- 
timental expression. Behind them is a kind of hanging cage 
with birds from whose beaks are suspended bunches of figs, 
pears, grapes and plums, while a third bird hovers between them. 
Those on*the right are a grouse, peacock and lark; and on the 
left, a pheasant, flamingo and dove. Ranged along the foot of the 
decoration, beginning at the left, are a trophy of panpipes and 
pipes; a rabbit in a circle; two birds perched on a fountain, one 
of them a macaw; a butterfly; a vase with two birds; a cat in a 
circle; and a trophy of a ewer and a basin. 


Height, 5 feet 3 inches; width, feet \ tuck 


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OLD MUSICAL INSTRUMENTS 


132—Two Drums 
Pair Italian military drums. Seventeenth century. Painted 
sides decorated with coats of arms; heads made from illumi- 
nated church missals. 
Fletght, 26 inches; diameter, 12% inches 
133— MANDOLIN 


Body of delicate shape, inlaid with tortoise shell, ivory and 
mother of pearl. Made by Andra Guainicin. 1705. 


134—LuTE 
Early eighteenth-century Italian lute. ‘‘The Rose” of carved 
paper; very deep. Made in four sections; inlaid body. 
Length, 33 inches 
1385—LuTE 
Italian lute. Satinwood body, ebony stem; retains original 
cord. Label date, 1777, inside. . 
Length, 36 inches 


136—CHITARRA BATTENTE 
Italian. Early eighteenth century. Very deep body, inlaid 
with tortoise shell and mother of pearl; 14 keys. 
Length, 37 inches 
137—LuTE 7 
Italian. Eighteenth century. Oval body, inlaid with ivory; 
long stem with swell head; retains original cord. 
Length, 34 inches 
138—LuTE 
Italian. Seventeenth century. Large pear-shaped body. Made 
of alternate narrow strips of light and dark wood; elaborate 
carved flat rose. Label inside, dated Rome, 1613. 
Length, 38 inches 
139—GUITAR 
Italian. Eighteenth century. Body and stem inlaid with 
tortoise shell and mother of pearl; 13 keys. Label reads, Gio 


Barrissa, facit. An. 1791. Napoli. 
Length, 35 inches 


140—LyreE 


Italian. Early eighteenth century. Large, wide body; two 


sound holes; uprights carved and gilded. 
Fleight, 35 inches 
141—ManbDoLin sis 
Italian. Eighteenth century. Fluted body, inlaid with tor- 
toise shell and mother of pearl. Label reads, Joseph Filanos- 
itius, Neap. Anno. 1783. 


142—M ANDOLIN 


Italian. Eighteenth century. Fluted body, inlaid with tortoise 
shell and mother of pearl. Dated Neapoli, 1777. 


143—-CHITARRONE 
Italian. Eighteenth century. Large pear-shaped body, flat 
back, long stem; 16 keys. 
Length, 44 inches 
144—-CHITARRONE 


French. Eighteenth century. Large, irregular-shaped body, 
with finger board extending down at side. 16 keys. Made by 
Renault, Paris. 
Length, 44 inches 
145—Lyre 
Italian. Seventeenth century. Large body. ‘Two sound holes 
with inlaid ‘‘roses.” Uprights elaborated, carved and gilded. 
Ffletght, 36 tnches 
146—GUITAR 
Italian. Eighteenth century. Long, thin body, elaborately 
inlaid with mother of pearl, ivory and ebony. 
Length, 35 inches 
147—GUvITAR 
Italian. Early eighteenth century. Body of alternate bands of 
wood and thin strips of ivory; front and stem elaborately inlaid 
with engraved ivory, pearl shell and ebony. Curious green cord 
and tassel. 
Length, 36 tnches 
148—MaNDOLIN 


Italian. Eighteenth century. Very deep fluted body, inlaid 
with tortoise shell and mother of pearl. Antonius Vinaccia, 
facit. An. 1792. Napoli. 


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149—LyreE GUITAR 
Antique Greek form. Long body and slender horns, united by 
metal rod; ebony finger board. Italian. Eighteenth century. 
Length, 30% inches 
150—Harp Lyre | 
$ Italian. Seventeenth century. Combination of lyre body 
with harp frame. Decorated in gold with musical instruments, 
scrolls and other designs. Post and head of harp carved and 
gilded. *‘ The Rose,” a carved and gilded sunburst, stands on 
gilt base. 
Height, 35 inches 
151—Manbo.in 
Small body, of engraved ivory and ebony strips; finger board 
of ivory, engraved with children playing on musical instru- 
ments. ‘The rose is flat, inlaid with mother of pearl. Italian. 
Early eighteenth century. 


152—GUITAR © 
Italian. Eighteenth century. Long, slim body, elaborately 
inlaid with ivory and mother of pearl; frets of finger board 
extend on body. Label, ‘‘ Pitano Donati Filins facit, Neap. 1780.” 
Length, 37 inches 
153—CHITARRONE 
Italian. Eighteenth century. Large, pear-shaped body, of 
alternate narrow bands of wood and thin ivory; hollow finger 
board, 24 keys; stem terminates in a gilded cherub head. 
Length, 50 inches 
154—CoRNEMUSE 
The bag covered with green velvet, decorated with silver tinsel 
and fringe. Ivory drones and mouthpiece. French. Eighteenth 
century. 


155—CoRNEMUSE 
The bag covered with brocade velvet; carved ivory mouth- 
piece. Lacks the drones. French. Eighteenth century. 


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